example of literary analysis thesis

Literary Criticism

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• thesis examples

SAMPLE THESIS STATEMENTS

These sample thesis statements are provided as guides, not as required forms or prescriptions.

______________________________________________________________________________________________________________

The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc.

In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

Further Examples:

The character of the Nurse in Romeo and Juliet serves as a foil to young Juliet, delights us with her warmth and earthy wit, and helps realize the tragic catastrophe.

The works of ecstatic love poets Rumi, Hafiz, and Kabir use symbols such as a lover’s longing and the Tavern of Ruin to illustrate the human soul’s desire to connect with God.

The thesis may focus on illustrating how a work reflects the particular genre’s forms, the characteristics of a philosophy of literature, or the ideas of a particular school of thought.

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

Note how the thesis statement classifies the form of the work (writings by immigrants) and identifies the characteristics of that form of writing (tradition, adaptation, and identity) that the essay will discuss.

Further examples:

Samuel Beckett’s Endgame reflects characteristics of Theatre of the Absurd in its minimalist stage setting, its seemingly meaningless dialogue, and its apocalyptic or nihilist vision.

A close look at many details in “The Story of an Hour” reveals how language, institutions, and expected demeanor suppress the natural desires and aspirations of women.

The thesis may draw parallels between some element in the work and real-life situations or subject matter: historical events, the author’s life, medical diagnoses, etc.

In Willa Cather’s short story, “Paul’s Case,” Paul exhibits suicidal behavior that a caring adult might have recognized and remedied had that adult had the scientific knowledge we have today.

This thesis suggests that the essay will identify characteristics of suicide that Paul exhibits in the story. The writer will have to research medical and psychology texts to determine the typical characteristics of suicidal behavior and to illustrate how Paul’s behavior mirrors those characteristics.

Through the experience of one man, the Narrative of the Life of Frederick Douglass, An American Slave, accurately depicts the historical record of slave life in its descriptions of the often brutal and quixotic relationship between master and slave and of the fragmentation of slave families.

In “I Stand Here Ironing,” one can draw parallels between the narrator’s situation and the author’s life experiences as a mother, writer, and feminist.

SAMPLE PATTERNS FOR THESES ON LITERARY WORKS

1. In (title of work), (author) (illustrates, shows) (aspect) (adjective). 

Example: In “Barn Burning,” William Faulkner shows the characters Sardie and Abner Snopes struggling for their identity.

2. In (title of work), (author) uses (one aspect) to (define, strengthen, illustrate) the (element of work).

Example: In “Youth,” Joseph Conrad uses foreshadowing to strengthen the plot.

3. In (title of work), (author) uses (an important part of work) as a unifying device for (one element), (another element), and (another element). The number of elements can vary from one to four.

Example: In “Youth,” Joseph Conrad uses the sea as a unifying device for setting, structure and theme.

4. (Author) develops the character of (character’s name) in (literary work) through what he/she does, what he/she says, what other people say to or about him/her.

Example: Langston Hughes develops the character of Semple in “Ways and Means”…

5. In (title of work), (author) uses (literary device) to (accomplish, develop, illustrate, strengthen) (element of work).

Example: In “The Masque of the Red Death,” Poe uses the symbolism of the stranger, the clock, and the seventh room to develop the theme of death.

6. (Author) (shows, develops, illustrates) the theme of __________ in the (play, poem, story).

Example: Flannery O’Connor illustrates the theme of the effect of the selfishness of the grandmother upon the family in “A Good Man is Hard to Find.”

7. (Author) develops his character(s) in (title of work) through his/her use of language.

Example: John Updike develops his characters in “A & P” through his use of figurative language.

Perimeter College, Georgia State University,  http://depts.gpc.edu/~gpcltc/handouts/communications/literarythesis.pdf

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Literary analysis: sample essay.

We turn once more to Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Writing, and Analysis  (Boston: Bedford/St. Martin’s, 2016) in order to show you their example of a strong student essay that has a strong central claim elucidated by multiple surface/depth arguments supported by patterns of evidence.

Paragraph 1

Sylvia Plath’s short poem “Morning Song” explores the conflicted emotions of a new mother. On the one hand, the mother recognizes that she is expected to treasure and celebrate her infant, but on the other hand, she feels strangely removed from the child. The poem uses a combination of scientific and natural imagery to illustrate the mother’s feelings of alienation. By the end of the poem, however, we see a shift in this imagery as the mother begins to see the infant in more human terms.

Paragraph 2

There are several references to scientific imagery in “Morning Song” that suggest that mother is viewing the baby in clinical, scientific terms rather than as a new life. The poem refers to magnification (4) and reflection (8), both of which are scientific methods. The word “distills” (8) refers to a scientific, chemical process for removing impurities from a substance. The baby’s cry is described as taking “its place among the elements” (3), which seems to refer to the periodic table of elements, the primordial matter of the universe. The watch in the first line is similarly a scientific tool and the gold the watch is made of is, of course, an element, like the baby’s cry. Even the balloons in the last line have a scientific connotation since balloons are often used for measurements and experiments in science. These images all serve to show how the speaker feels distanced from the baby, who is like a scientific experiment she is conducting rather than a human being.

Paragraph 3

Natural imagery also seems to further dehumanize the baby, reducing it to nothing more than its mouth. The baby’s breathing is compared to a moth in line 10, suggesting that the speaker feels the infant is fragile and is as likely to die as a moth dancing around candlelight. A few lines later, the baby’s mouth is compared to another animal—a cat—who greedily opens its mouth for milk. Not only does the speaker seem to feel that the baby is like an animal, but she herself is turned into an animal, as she arises “cow-heavy” (13) to feed the infant. These images show how the speaker sees both the baby and herself as dumb animals who exist only to feed and be fed. Even the morning itself seems to be reduced to another mouth to feed as she describes how the dawn “swallows its dull stars” (16). These lines suggest that just as the sun swallows up the stars, so the baby will swallow up this mother.

Paragraph 4

However, in the last few lines the poem takes a hopeful turn as the speaker begins to view the baby as a human being. The baby’s mouth, which has previously been greedy and animal-like, now becomes a source of music, producing a “handful of notes” (17) and “clear vowels” (18). Music is a distinctly human sound. No animals and certainly not the cats, cows, or moths mentioned earlier in the poem, make music. This change in how the speaker perceives the baby’s sounds—from animalistic cry to human song—suggest that she is beginning to relate the baby as an individual. Even the word “handful” in the phrase “handful of notes” (17) seems hopeful in this context since this is the first time the mother has referred to the baby as having a distinctly human body part. When the baby’s notes finally “rise like balloons” (18), the speaker seems to have arrived at a place where she can celebrate the infant. For the first time, the infant is giving something to the speaker rather than threatening to take something away. The mother seems to have finally accepted the child as an independent human being whose company she can celebrate.

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5.2: Thesis Examples

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SAMPLE THESIS STATEMENTS

These sample thesis statements are provided as guides, not as required forms or prescriptions.

______________________________________________________________________________________________________________

The thesis may focus on an analysis of one of the elements of fiction, drama, poetry or nonfiction as expressed in the work: character, plot, structure, idea, theme, symbol, style, imagery, tone, etc.

In “A Worn Path,” Eudora Welty creates a fictional character in Phoenix Jackson whose determination, faith, and cunning illustrate the indomitable human spirit.

Note that the work, author, and character to be analyzed are identified in this thesis statement. The thesis relies on a strong verb (creates). It also identifies the element of fiction that the writer will explore (character) and the characteristics the writer will analyze and discuss (determination, faith, cunning).

Further Examples:

The character of the Nurse in Romeo and Juliet serves as a foil to young Juliet, delights us with her warmth and earthy wit, and helps realize the tragic catastrophe.

The works of ecstatic love poets Rumi, Hafiz, and Kabir use symbols such as a lover’s longing and the Tavern of Ruin to illustrate the human soul’s desire to connect with God.

The thesis may focus on illustrating how a work reflects the particular genre’s forms, the characteristics of a philosophy of literature, or the ideas of a particular school of thought.

“The Third and Final Continent” exhibits characteristics recurrent in writings by immigrants: tradition, adaptation, and identity.

Note how the thesis statement classifies the form of the work (writings by immigrants) and identifies the characteristics of that form of writing (tradition, adaptation, and identity) that the essay will discuss.

Further examples:

Samuel Beckett’s Endgame reflects characteristics of Theatre of the Absurd in its minimalist stage setting, its seemingly meaningless dialogue, and its apocalyptic or nihilist vision.

A close look at many details in “The Story of an Hour” reveals how language, institutions, and expected demeanor suppress the natural desires and aspirations of women.

The thesis may draw parallels between some element in the work and real-life situations or subject matter: historical events, the author’s life, medical diagnoses, etc.

In Willa Cather’s short story, “Paul’s Case,” Paul exhibits suicidal behavior that a caring adult might have recognized and remedied had that adult had the scientific knowledge we have today.

This thesis suggests that the essay will identify characteristics of suicide that Paul exhibits in the story. The writer will have to research medical and psychology texts to determine the typical characteristics of suicidal behavior and to illustrate how Paul’s behavior mirrors those characteristics.

Through the experience of one man, the Narrative of the Life of Frederick Douglass, An American Slave, accurately depicts the historical record of slave life in its descriptions of the often brutal and quixotic relationship between master and slave and of the fragmentation of slave families.

In “I Stand Here Ironing,” one can draw parallels between the narrator’s situation and the author’s life experiences as a mother, writer, and feminist.

SAMPLE PATTERNS FOR THESES ON LITERARY WORKS

1. In (title of work), (author) (illustrates, shows) (aspect) (adjective). 

Example: In “Barn Burning,” William Faulkner shows the characters Sardie and Abner Snopes struggling for their identity.

2. In (title of work), (author) uses (one aspect) to (define, strengthen, illustrate) the (element of work).

Example: In “Youth,” Joseph Conrad uses foreshadowing to strengthen the plot.

3. In (title of work), (author) uses (an important part of work) as a unifying device for (one element), (another element), and (another element).  The number of elements can vary from one to four.

Example: In “Youth,” Joseph Conrad uses the sea as a unifying device for setting, structure and theme.

4. (Author) develops the character of (character’s name) in (literary work) through what he/she does, what he/she says, what other people say to or about him/her.

Example: Langston Hughes develops the character of Semple in “Ways and Means”…

5. In (title of work), (author) uses (literary device) to (accomplish, develop, illustrate, strengthen) (element of work).

Example: In “The Masque of the Red Death,” Poe uses the symbolism of the stranger, the clock, and the seventh room to develop the theme of death.

6. (Author) (shows, develops, illustrates) the theme of __________ in the (play, poem, story).

Example: Flannery O’Connor illustrates the theme of the effect of the selfishness of the grandmother upon the family in “A Good Man is Hard to Find.”

7. (Author) develops his character(s) in (title of work) through his/her use of language.

Example: John Updike develops his characters in “A & P” through his use of figurative language.

• Thesis Examples. Authored by : University of Arlington Texas. Located at : http://libguides.uta.edu/c.php?g=517839&p=3592550 . License : CC BY-NC: Attribution-NonCommercial

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Once you've read the story or novel closely, look back over your notes for patterns of questions or ideas that interest you. Have most of your questions been about the characters, how they develop or change?

For example: If you are reading Conrad's The Secret Agent , do you seem to be most interested in what the author has to say about society? Choose a pattern of ideas and express it in the form of a question and an answer such as the following: Question: What does Conrad seem to be suggesting about early twentieth-century London society in his novel The Secret Agent ? Answer: Conrad suggests that all classes of society are corrupt. Pitfalls: Choosing too many ideas. Choosing an idea without any support.

Once you have some general points to focus on, write your possible ideas and answer the questions that they suggest.

For example: Question: How does Conrad develop the idea that all classes of society are corrupt? Answer: He uses images of beasts and cannibalism whether he's describing socialites, policemen or secret agents.

To write your thesis statement, all you have to do is turn the question and answer around. You've already given the answer, now just put it in a sentence (or a couple of sentences) so that the thesis of your paper is clear.

For example: In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society.

Now that you're familiar with the story or novel and have developed a thesis statement, you're ready to choose the evidence you'll use to support your thesis. There are a lot of good ways to do this, but all of them depend on a strong thesis for their direction.

For example: Here's a student's thesis about Joseph Conrad's The Secret Agent . In his novel, The Secret Agent , Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth-century London society. This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text.

How to write a literary analysis essay

• February 5, 2024

When writing a literary analysis, you need to read closely for the author’s choices and style. You simply imagine yourself as the writer or critique.

Although this type of essay requires a different and close approach, it usually follows a traditional essay structure.  Now let’s follow the steps to writing a great literary analysis! 

Step 1: Read the literary text closely

Say you’re writing a literary analysis of 1984 by George Orwell; you need to read that book closely. This is the first step.

Remember, you’re not simply reading; you’re reading as a critique. So, you should consider the type of writing, surprising facts and linguistic elements ( word choice , phrasal words , first-person pronouns , etc.), and intriguing points in Orwell’s writing.  Your primary target is analyzing the text. So, pay attention not to summarize the text when you’re writing. 

During your close reading, there are specific areas to focus on, as shown below.

• Consider the imagery of the text. Which words symbolize a particular atmosphere or setting? Does the author repeat the atmosphere with certain words?
• Analyze the book from different perspectives such as language, narrative voice, and structure. These are called literary devices. 
• Consider the tone of the text. Decide whether the story is realistic, fantastical, or tragic, comic, or the topic is funny, sad, etc.
• Pay attention if the author uses short or long sentences, transition sentences , transition words , etc.
• Notice if the author uses complex, poetic, or simple sentence structure, active or passive voice , etc. ​
• Analyze the word choices of the author. Does the author make use of figurative languages such as similes or metaphors?

Narrative voice

• Find out whether the story is told first-person or third-person.
• Pay attention to the perspective of the narrator. Decide whether it is an omniscient or unreliable narrator.

The structure of the source text is also important when analyzing different types of literary works. There are quite different type of literary texts as shown below. 

• Cantos, lines, and stanzas are used in poems.
• Scenes and acts comprise plays​
• Parts and chapters comprise novels.​

Poem structure

For the structure, pay attention to why the author divides the text at certain points. What was the motive? 

Also ask yourself these questions: 

• Decide whether the story is chronologically told. Does the author flashes back to the past, or does the story progress chronologically?
• Pay attention to the events. Does the novel start in the middle of an event? Does it start from the climax?​​

Play structure

Step 2: think of your thesis statement.

In every essay, a thesis statement is the center of your argument. Without  it, your essay would be a random selection of your ideas. So, it’s quite essential.  Your instructor may give you a topic , and you need to write your paper according to the instructions. 

Let’s see the following topic and build a thesis statement on it.

• Does George Orwell's 1984 include gothic elements?

Thesis statement example

Introduction

....(introduction starts) ....(introduction continues) ....(introduction continues) George Orwell's 1984 is a dystopic novel that includes post-romanticist and gothic elements.​ Thesis statement, which is usually the last sentence of your introduction

Qualities of a good thesis statement

• Surprising​
• Provable through evidence

The primary target of your thesis statement is to keep you organized as you write. Remember that you can always modify your existing thesis statement when you finish writing.

Literary analysis thesis statement example

....(introduction starts) ....(introduction continues) ....(introduction continues) Although Frankenstein is considered the first example of science fiction, it is also a masterpiece of romanticism as it includes all the characteristics of the genre, such as the glorification of nature, awareness of emotions, artistic creativity, aesthetic beauty, solitude, and supernatural elements in its different chapters. Thesis statement, which is usually the last sentence of your introduction

Step 3: Write an introduction

The title and introduction generally set up your entire essay. This is where you present your topic. You mention what you’ll include in your essay. A well-thought title and introduction are quite necessary to prepare an excellent literary analysis.

Literary analysis essay introduction example

Literary analysis introduction tips.

• Your introduction should present the context of your topic . That is, the reader should know what you're discussing. Which book? Which characters?​
• Your introduction should be able to answer the "so what?" question. Explain why your topic is noteworthy, surprising, or significant. ​
• Present your thesis statement at the end of your introduction . An academic essay without a thesis statement is merely worthless and random.​
• Signposting: Present the scope of your essay if you're writing a long paper. Informing your reader on the organizational structure of your paper is a sign of care and hard work​.

Things to avoid in your introduction

• Avoid being vague, be specific: Your literary analysis essay should naturally be exciting and important.
• The introduction should be no more than 10% of your whole paper. ​
• Don't just throw random information. Give your necessary points briefly, along with your hook, context, and thesis statement.​

Introduction tip

Step 4: continue with body paragraphs.

You’ll present your arguments, evidence, and details in your body paragraphs : simply everything between your introduction and conclusion .

Literary analysis essay body example

Paragraph structure.

A typical literary analysis is 5 paragraphs long: an introduction and conclusion and three body paragraphs. However, if you’re writing a long paper, you’ll have more body paragraphs.

Each paragraph should have no more than one  topic sentence . If you’re writing a 5 paragraph essay, try to divide your arguments into three points and mention each in  a single paragraph .  When writing longer essays or research papers, apply the same principle on a longer scale.

Topic sentences

Topic sentences are like door signs in a big office. You’ll show your reader which topic you’re covering in a specific paragraph.  It is the first sentence of a body paragraph where you allow readers what to expect with a  topic sentence .

Making use of transition

Remember that  transition sentences  and  transition words  are necessary to provide a smooth transition between paragraphs.

In a good literary essay, each paragraph must be strongly and explicitly linked to the whole essay . Your reader needs to find your essay smooth and easy to read.

Transition words example

Presenting textual evidence.

Presenting evidence is essential in body paragraphs. Presenting quotes and relevant evidence in literary analysis essays are extremely significant as they back up your arguments. 

You need to inform your reader regarding your textual evidence by introducing and analyzing it. In other words, tell them why you’re using it. 

Although you don’t have to use a  quote , they’re generally useful in a literary analysis essay, as seen below:

Textual evidence in a paragraph

....(paragraph starts) Orwell highlights that "no one could do anything against Big Brother," stressing the collective pessimism of the zeitgeist. You give evidence from the text to support your claim ....(paragraph continues) ....(paragraph ends)

 If you want to refer to a whole chapter, you need to summarize or paraphrase. Don’t just copy, you need to describe it in your own words.

In case you are struggling to write in your own words, then consider getting help from a paraphrasing tool . It will quickly paraphrase your given writing in a totally unique way without changing its original meaning. When it comes to summarization, you can also use a summarizing tool to get the job done quickly and efficiently.

Textual evidence in a paragraph (on chapter)

....(paragraph starts) The last chapter of Orwell's masterpiece reflects a dynamic pursuit between the lovely couple and the brutal companions of Big Brother. While the reader intrinsically expects an optimistic turn in the storyline, the author shocks the reader with the bitter truth of the ongoing dystopia. You highlight the chapter of a source to support your claim ....(paragraph continues) ....(paragraph ends)

Step 5: Write a conclusion

Typically, a conclusion doesn’t include any new information or evidence. It’s simply a closing speech of your literary essay. When writing a conclusion:

• Wrap up your paper by summarizing and synthesizing your arguments and highlight their significance.
• Avoid unnecessary statements and generalizations.​
• Restate your thesis statement.

Below, you’ll see a good example of a literary analysis essay conclusion. Feel free to analyze and observe the elements in the final paragraph.

Literary analysis essay conclusion example

5-paragraph literary analysis example.

Game of Thrones: A World of Fantasy and Intrigue

Body paragraphs

Key takeaways for literary analyses.

• Start by carefully reading and analyzing the literary text, take notes when necessary
• Develop a clear thesis statement that summarizes your analysis and main argument.
• Use textual evidence and analysis to support your arguments and interpretations.
• Organize your essay with a clear introduction, body paragraphs, and conclusion.
• Revise and edit your essay to ensure clarity, coherence, and proper citation of sources.

Now you’re ready to write a perfect literary analysis. 

If you need further information, feel free to have a look at our essay samples or contact us in one of our communication channels. 

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• Literary Terms
• Definition & Examples
• When & How to Write a Thesis

I. What is a Thesis?

The thesis (pronounced thee -seez), also known as a thesis statement, is the sentence that introduces the main argument or point of view of a composition (formal essay, nonfiction piece, or narrative). It is the main claim that the author is making about that topic and serves to summarize and introduce that writing that will be discussed throughout the entire piece. For this reason, the thesis is typically found within the first introduction paragraph.

II. Examples of Theses

Here are a few examples of theses which may be found in the introductions of a variety of essays :

In “The Mending Wall,” Robert Frost uses imagery, metaphor, and dialogue to argue against the use of fences between neighbors.

In this example, the thesis introduces the main subject (Frost’s poem “The Mending Wall”), aspects of the subject which will be examined (imagery, metaphor, and dialogue) and the writer’s argument (fences should not be used).

While Facebook connects some, overall, the social networking site is negative in that it isolates users, causes jealousy, and becomes an addiction.

This thesis introduces an argumentative essay which argues against the use of Facebook due to three of its negative effects.

During the college application process, I discovered my willingness to work hard to achieve my dreams and just what those dreams were.

In this more personal example, the thesis statement introduces a narrative essay which will focus on personal development in realizing one’s goals and how to achieve them.

III. The Importance of Using a Thesis

Theses are absolutely necessary components in essays because they introduce what an essay will be about. Without a thesis, the essay lacks clear organization and direction. Theses allow writers to organize their ideas by clearly stating them, and they allow readers to be aware from the beginning of a composition’s subject, argument, and course. Thesis statements must precisely express an argument within the introductory paragraph of the piece in order to guide the reader from the very beginning.

IV. Examples of Theses in Literature

For examples of theses in literature, consider these thesis statements from essays about topics in literature:

In William Shakespeare’s “ Sonnet 46,” both physicality and emotion together form powerful romantic love.

This thesis statement clearly states the work and its author as well as the main argument: physicality and emotion create romantic love.

In The Scarlet Letter, Nathaniel Hawthorne symbolically shows Hester Prynne’s developing identity through the use of the letter A: she moves from adulteress to able community member to angel.

In this example, the work and author are introduced as well as the main argument and supporting points: Prynne’s identity is shown through the letter A in three ways: adulteress, able community member, and angel.

John Keats’ poem “To Autumn” utilizes rhythm, rhyme, and imagery to examine autumn’s simultaneous birth and decay.

This thesis statement introduces the poem and its author along with an argument about the nature of autumn. This argument will be supported by an examination of rhythm, rhyme, and imagery.

V. Examples of Theses in Pop Culture

Sometimes, pop culture attempts to make arguments similar to those of research papers and essays. Here are a few examples of theses in pop culture:

America’s food industry is making a killing and it’s making us sick, but you have the power to turn the tables.

The documentary Food Inc. examines this thesis with evidence throughout the film including video evidence, interviews with experts, and scientific research.

Orca whales should not be kept in captivity, as it is psychologically traumatizing and has caused them to kill their own trainers.

Blackfish uses footage, interviews, and history to argue for the thesis that orca whales should not be held in captivity.

VI. Related Terms

Just as a thesis is introduced in the beginning of a composition, the hypothesis is considered a starting point as well. Whereas a thesis introduces the main point of an essay, the hypothesis introduces a proposed explanation which is being investigated through scientific or mathematical research. Thesis statements present arguments based on evidence which is presented throughout the paper, whereas hypotheses are being tested by scientists and mathematicians who may disprove or prove them through experimentation. Here is an example of a hypothesis versus a thesis:

Hypothesis:

Students skip school more often as summer vacation approaches.

This hypothesis could be tested by examining attendance records and interviewing students. It may or may not be true.

Students skip school due to sickness, boredom with classes, and the urge to rebel.

This thesis presents an argument which will be examined and supported in the paper with detailed evidence and research.

Introduction

A paper’s introduction is its first paragraph which is used to introduce the paper’s main aim and points used to support that aim throughout the paper. The thesis statement is the most important part of the introduction which states all of this information in one concise statement. Typically, introduction paragraphs require a thesis statement which ties together the entire introduction and introduces the rest of the paper.

VII. Conclusion

Theses are necessary components of well-organized and convincing essays, nonfiction pieces, narratives , and documentaries. They allow writers to organize and support arguments to be developed throughout a composition, and they allow readers to understand from the beginning what the aim of the composition is.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

English Resources: Writing a Literary Analysis

• Writing a Literary Analysis
• Annotated Bibliography
• MLA Citations
• Please Take This Instruction Survey This link opens in a new window

Thesis Statements

• Literary Analysis Thesis Statement
• Thesis Statements - UNC Chapel Hill What a thesis statement is, how to create a thesis statement, how to know if your thesis is strong, and examples

Other Literary Analysis Resources

• Literary Analysis Handout Created by the Baptist University of Americas' University Writing Center
• How To Write A Literature Review

What is a Literary Analysis

The purpose of a literacy analysis is to provide a careful examination and evaluation of a work of literature to better understand the work. It is not meant to be a summary of the work.

Example topics of literacy analysis include (but at not limited to):

• Discussing the nature and potential symbolism of characters (are they meant to stand in for a particular ideology or emotion)
• Compare and contact choices different characters make
• A reading of a work based on an outside perspective (i.e. looking at a work from a feminist standpoint)
• A study of the historical events taking place in the background of a particular work and how it effects the characters and story
• An analysis of a reoccurring symbol or image in the work
• A study of the social, political, or economic context in which a work was written

What Makes a Good Literary Analysis?

In selecting the focus of your paper, you want to make sure that you have a debatable thesis statement with a solid argument backed up by evidence. Your thesis should be limited in scope and offer a specific interpretation of the work that will guide you in organizing your paper.

What Type of Evidence Should be Used?

Your analysis should use a mix of primary and secondary sources.

The primary source for a literary analysis is the work which you are writing about and which is the central focus on your paper.

Secondary sources are resources that discuss the primary source or discuss other information such as theories, symbols, social and historical contexts, etc. To find secondary sources, you can use the databases listed on the main page of this guide .

What Are Examples of Evidence?

Your evidence may include:

• Examples from the text in the form of direct quotations, summaries, and paraphrases (Primary)
• Other literary critic's opinions or analysis of a work in the form of critical essays - they can be used as support or as counter arguments (secondary)
• Background information discussion the historical and social context in the form of books or article (Secondary)

Your main evidence should be coming from the text itself and secondary sources (such as critic's opinions and background information) should be used sparingly.

Citing Evidence with MLA

In-text citations for MLA require two elements: Author's last name and page number. There is no punctuation between these two elements.

Direct Quotations

Require a page number. If a page number is not evident, you can also provide a paragraph number i.e. (Smith par. 3).

Paraphrases

If you are paraphrasing a part of the literary work, you still need to provide a page number or page range to indicate where you are getting your information from i.e. (Smith 11-13)

If you are summarizing a work as a whole or a large chuck of a work, a page number or page range is not required, however, you still need to provide a citation or the author's last name.

Paraphrasing Vs Summarizing

Paraphrase:

putting a passage into your own words

condensing idea slightly

requires a page number

summarizing only the main points or broad overview

requires citation; but not a page number

Ways to Format In-Text Citations

The following are different ways you can format your in-text citations:

Author’s name in text (page number): According to Cuno, “for years, archaeologists have lobbied for national and international laws, treaties, and conventions to prohibit the international movement of antiquities” (1).

Author’s name in reference (page number): The argument runs that, “the term 'Czechoslovak' had become a rich source of contention almost immediately after the state's formation” (Innes 16).

No known author : A similar study was done of students learning to format a research paper ("MLA In-Text Citations").

Note: Use an abbreviated version of the title of the page in quotation marks to substitute for the name of the author

Citing authors with same last names, provide the first initial:

Although some medical ethicists claim that cloning will lead to designer children (R. Miller 12), others note that the advantages for medical research outweigh this consideration (A. Miller 46).

Author’s name in text (no page number): Cassell and Jenkins compared reaction times. . . .

Author’s name in reference (no page number): In a recent study of reaction times (Cassell & Jenkins). . .

Note: If the source does not have page numbers, but explicitly labels its paragraphs or sections, you can give that number instead with the appropriate abbreviation. For example, (Lee, par. 2). When a source has no page number or not other kind of numbering, do not give a page number in the parathesis. Do not count paragraphs if they are not numbered.

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Literary Analysis Essay

Literary Analysis Essay Writing

Last updated on: May 21, 2023

Literary Analysis Essay - Ultimate Guide By Professionals

By: Cordon J.

Reviewed By: Rylee W.

Published on: Dec 3, 2019

A literary analysis essay specifically examines and evaluates a piece of literature or a literary work. It also understands and explains the links between the small parts to their whole information.

It is important for students to understand the meaning and the true essence of literature to write a literary essay.

One of the most difficult assignments for students is writing a literary analysis essay. It can be hard to come up with an original idea or find enough material to write about. You might think you need years of experience in order to create a good paper, but that's not true.

This blog post will show you how easy it can be when you follow the steps given here.Writing such an essay involves the breakdown of a book into small parts and understanding each part separately. It seems easy, right?

Trust us, it is not as hard as good book reports but it may also not be extremely easy. You will have to take into account different approaches and explain them in relation with the chosen literary work.

It is a common high school and college assignment and you can learn everything in this blog.

Continue reading for some useful tips with an example to write a literary analysis essay that will be on point. You can also explore our detailed article on writing an analytical essay .

On this Page

What is a Literary Analysis Essay?

A literary analysis essay is an important kind of essay that focuses on the detailed analysis of the work of literature.

The purpose of a literary analysis essay is to explain why the author has used a specific theme for his work. Or examine the characters, themes, literary devices , figurative language, and settings in the story.

This type of essay encourages students to think about how the book or the short story has been written. And why the author has created this work.

The method used in the literary analysis essay differs from other types of essays. It primarily focuses on the type of work and literature that is being analyzed.

Mostly, you will be going to break down the work into various parts. In order to develop a better understanding of the idea being discussed, each part will be discussed separately.

The essay should explain the choices of the author and point of view along with your answers and personal analysis.

How To Write A Literary Analysis Essay

So how to start a literary analysis essay? The answer to this question is quite simple.

The following sections are required to write an effective literary analysis essay. By following the guidelines given in the following sections, you will be able to craft a winning literary analysis essay.

Introduction

The aim of the introduction is to establish a context for readers. You have to give a brief on the background of the selected topic.

It should contain the name of the author of the literary work along with its title. The introduction should be effective enough to grab the reader’s attention.

In the body section, you have to retell the story that the writer has narrated. It is a good idea to create a summary as it is one of the important tips of literary analysis.

Other than that, you are required to develop ideas and disclose the observed information related to the issue. The ideal length of the body section is around 1000 words.

To write the body section, your observation should be based on evidence and your own style of writing.

It would be great if the body of your essay is divided into three paragraphs. Make a strong argument with facts related to the thesis statement in all of the paragraphs in the body section.

Start writing each paragraph with a topic sentence and use transition words when moving to the next paragraph.

Summarize the important points of your literary analysis essay in this section. It is important to compose a short and strong conclusion to help you make a final impression of your essay.

Pay attention that this section does not contain any new information. It should provide a sense of completion by restating the main idea with a short description of your arguments. End the conclusion with your supporting details.

You have to explain why the book is important. Also, elaborate on the means that the authors used to convey her/his opinion regarding the issue.

For further understanding, here is a downloadable literary analysis essay outline. This outline will help you structure and format your essay properly and earn an A easily.

DOWNLOADABLE LITERARY ANALYSIS ESSAY OUTLINE (PDF)

Types of Literary Analysis Essay

• Close reading - This method involves attentive reading and detailed analysis. No need for a lot of knowledge and inspiration to write an essay that shows your creative skills.
• Theoretical - In this type, you will rely on theories related to the selected topic.
• Historical - This type of essay concerns the discipline of history. Sometimes historical analysis is required to explain events in detail.
• Applied - This type involves analysis of a specific issue from a practical perspective.
• Comparative - This type of writing is based on when two or more alternatives are compared

Examples of Literary Analysis Essay

Examples are great to understand any concept, especially if it is related to writing. Below are some great literary analysis essay examples that showcase how this type of essay is written.

A ROSE FOR EMILY LITERARY ANALYSIS ESSAY

TO KILL A MOCKINGBIRD LITERARY ANALYSIS ESSAY

THE GREAT GATSBY LITERARY ANALYSIS ESSAY

THE YELLOW WALLPAPER LITERARY ANALYSIS ESSAY

If you do not have experience in writing essays, this will be a very chaotic process for you. In that case, it is very important for you to conduct good research on the topic before writing.

There are two important points that you should keep in mind when writing a literary analysis essay.

First, remember that it is very important to select a topic in which you are interested. Choose something that really inspires you. This will help you to catch the attention of a reader.

The selected topic should reflect the main idea of writing. In addition to that, it should also express your point of view as well.

Another important thing is to draft a good outline for your literary analysis essay. It will help you to define a central point and division of this into parts for further discussion.

Literary Analysis Essay Topics

Literary analysis essays are mostly based on artistic works like books, movies, paintings, and other forms of art. However, generally, students choose novels and books to write their literary essays.

Some cool, fresh, and good topics and ideas are listed below:

• Role of the Three Witches in flaming Macbeth’s ambition.
• Analyze the themes of the Play Antigone,
• Discuss Ajax as a tragic hero.
• The Judgement of Paris: Analyze the Reasons and their Consequences.
• Oedipus Rex: A Doomed Son or a Conqueror?
• Describe the Oedipus complex and Electra complex in relation to their respective myths.
• Betrayal is a common theme of Shakespearean tragedies. Discuss
• Identify and analyze the traits of history in T.S Eliot’s ‘Gerontion’.
• Analyze the theme of identity crisis in The Great Gatsby.
• Analyze the writing style of Emily Dickinson.

If you are still in doubt then there is nothing bad in getting professional writers’ help.

We at 5StarEssays.com can help you get a custom paper as per your specified requirements with our do essay for me service.

Our essay writers will help you write outstanding literary essays or any other type of essay. Such as compare and contrast essays, descriptive essays, rhetorical essays. We cover all of these.

So don’t waste your time browsing the internet and place your order now to get your well-written custom paper.

Frequently Asked Questions

What should a literary analysis essay include.

A good literary analysis essay must include a proper and in-depth explanation of your ideas. They must be backed with examples and evidence from the text. Textual evidence includes summaries, paraphrased text, original work details, and direct quotes.

What are the 4 components of literary analysis?

Here are the 4 essential parts of a literary analysis essay;

No literary work is explained properly without discussing and explaining these 4 things.

How do you start a literary analysis essay?

Start your literary analysis essay with the name of the work and the title. Hook your readers by introducing the main ideas that you will discuss in your essay and engage them from the start.

How do you do a literary analysis?

In a literary analysis essay, you study the text closely, understand and interpret its meanings. And try to find out the reasons behind why the author has used certain symbols, themes, and objects in the work.

Why is literary analysis important?

It encourages the students to think beyond their existing knowledge, experiences, and belief and build empathy. This helps in improving the writing skills also.

What is the fundamental characteristic of a literary analysis essay?

Interpretation is the fundamental and important feature of a literary analysis essay. The essay is based on how well the writer explains and interprets the work.

Law, Finance Essay

Cordon. is a published author and writing specialist. He has worked in the publishing industry for many years, providing writing services and digital content. His own writing career began with a focus on literature and linguistics, which he continues to pursue. Cordon is an engaging and professional individual, always looking to help others achieve their goals.

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beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it. 

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning. 

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic. 

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone. 

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays. 

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide. 

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work. 

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts: 

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.  

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read. 

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house. 

In summary, literary analysis is:

• Breaking a work into its components
• Identifying what those components are and how they work in the text
• Developing an understanding of how they work together to achieve a goal 
• Not an opinion, but subjective 
• Not a summary, though summary can be used in passing 
• Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content. 

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience. 

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid. 

Why Does Literary Analysis Matter? 

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful. 

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning. 

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you. 

Literary Terms to Know for Literary Analysis 

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include: 

• Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work. 
• Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
• Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator 
• Diction : The word choice used by the narrator or characters 
• Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
• Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting 
• Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
• Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot. 
• Plot : The storyline of the work
• Point of view: The perspective taken by the narrator, which skews the perspective of the reader 
• Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions 
• Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning 
• Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
• Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
• Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand. 

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage. 

Step 2: Take Notes as You Read  

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis. 

Step 3: Notice Patterns 

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together. 

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include: 

• Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
• Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar. 
• Underline quotes or prose that define a character’s personality or their role in the text.
• Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view. 

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.  

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion. 

Questions you could ask yourself include: 

• What aspects of the text do I not understand?
• What parts of the narrative or writing struck me most?
• What patterns did I notice?
• What did the author accomplish really well?
• What did I find lacking?
• Did I notice any contradictions or anything that felt out of place?  
• What was the purpose of the minor characters?
• What tone did the author choose, and why? 

The answers to these and more questions will lead you to your arguments about the text. 

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly! 

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation. 

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument. 

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument). 

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone. 

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below. 

Step 1: Read the Text. Maybe Read It Again. 

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence. 

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline. 

Step 2: Brainstorm Potential Topics 

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you. 

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t). 

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter? 

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement). 

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.” 

Step 3: Gather Evidence 

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text. 

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together? 

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis. 

Step 4: Consider Secondary Sources 

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class. 

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source. 

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis. 

Writing a great thesis statement requires some real finesse. A successful thesis statement is: 

• Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument. 
• Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right. 
• Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character. 

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself. 

Step 6: Write an Outline 

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis. 

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay. 

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline. 

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader: 

• Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing. 
• Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at. 
• Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going. 

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose. 

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears. 

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as: 

• Furthermore 
• In addition
• On the other hand
• Conversely 

Step 9: Write Your Conclusion 

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature. 

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it. 

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible. 

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t. 

Other Resources for Literary Analysis 

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis. 

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so: 

• Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?). 
• This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay. 
• Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers. 
• This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper). 

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

Literary Analysis Essay

Literary analysis essays offer a deeper understanding and interpretation of literary works, allowing readers to delve into the intricacies of a story, poem, or novel. Whether you’re a student or a literature enthusiast, analyzing literature can be a rewarding experience. In this article, we will explore a collection of 30+ literary analysis essay examples available in Word, Google Docs, and PDF formats. We will also discuss essential elements such as analysis paper outlines , literary devices, short story analysis, literature reviews, theses, analogies, book reviews, context, and conclusions.

1. Literary Analysis Essay Outline Example

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What is a Literary Analysis Essay?

A literary analysis essay is a critical examination and interpretation of a literary work. It involves analyzing various elements such as plot, characters, themes, and literary devices to uncover deeper meanings and insights. By dissecting the text and exploring its nuances, readers can gain a deeper appreciation for the author’s intentions and the work’s impact. A well-written literary analysis essay provides a comprehensive analysis that goes beyond surface-level observations.

How to Write a Literary Analysis Essay

Before we dive into the examples, let’s outline the steps involved in writing a literary analysis essay:

Step 1: Choose a literary work:

Select a literary work that you want to analyze. It could be a novel, short story, poem, or play. Ensure that the chosen work is rich in literary elements and offers ample material for analysis.

Step 2: Familiarize yourself with the work:

Read the literary work carefully, taking note of important plot points, characters, themes, and literary devices. Pay attention to the author’s writing style and the overall tone of the work.

Step 3: Develop a thesis statement:

Craft a strong thesis statement that encapsulates your main argument or interpretation of the literary work. Your thesis should be clear, concise, and debatable, providing a roadmap for your analysis.

Step 4: Gather evidence:

Collect evidence from the literary work to support your thesis statement. Look for specific examples, quotes, and literary devices that reinforce your analysis. Take note of the context in which these elements appear.

Step 5: Organize your essay:

Create an analysis paper outline to structure your essay effectively. Divide your essay into introduction, body paragraphs, and conclusion . Each body paragraph should focus on a specific aspect of your analysis, supported by evidence.

Step 6: Write your essay:

Start with an engaging introduction that provides background information and introduces your thesis statement. In the body paragraphs, analyze different aspects of the literary work, providing evidence and explanations. Ensure a smooth flow between paragraphs. Conclude your essay by summarizing your main points and reinforcing your thesis .

What are some examples of literary devices?

Literary devices are techniques used by authors to enhance their writing and convey meaning. Examples include metaphors, similes, personification, alliteration, and symbolism. For a comprehensive list and explanations, refer to Literary Devices .

Are there any specific examples of short story analysis essays?

You can find examples of short story analysis essays in PDF format here . These examples provide insights into analyzing the elements of a short story effectively.

How does context impact literary analysis?

Context plays a crucial role in literary analysis as it helps readers understand the historical, social, and cultural background in which the literary work was written. It provides insights into the author’s intentions and influences the interpretation of the text.

Literary Analysis Essay Generator

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ENGL 2111 and 2112 World Literature: Thesis Statement

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Webpublished with students' permission ~ Thank you! ~ Cora ~ Short Cuts: Fall 2003 Midterm Examples: Josie Fenner : " The Lord of the Rings " | Tonya Flowers : "Chopin's Artistry in 'The Story of an Hour'" Melanie Price : "Impressions of Ordinary Life" [on Chekhov's "The Lady with the Little Dog"] Arielle Samuel : "Plot and Character in Maupassant's 'The Necklace'" Matthew Welch : "The True Lord of the Rings"

Fall 2002 Midterm Examples: Josh Goodall : "The Mystery of the Mastery" [on Chekhov's "The Lady with the Little Dog"] Christalyn Grantier : "Plot vs. Point of View in Chopin's 'Story of An Hour'" Jennifer Stewart : "Literary Analysis of Maupassant's 'The Necklace'" Ruzha Todorova : "A Cure for Temporary Depression" [on Gilman's "The Yellow Wallpaper"] Sheena Van Landuyt : "Hidden Labyrinth" [on Maupassant's "The Necklace"] Anonymous [CC]: [Untitled Essay on Chekhov's "The Lady with the Little Dog"]

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Josh Goodall ENG 104, Prof. C. Agatucci Midterm Literary Analysis Paper 4 November 2002

The Mystery of the Mastery               Much of life results from choices we make.  How we meet every circumstance, and also how we allow those circumstances to affect us dictates our life.  In Anton Chekhov’s “The Lady With the Little Dog," we are given a chance to take a look inside two characters not unlike ourselves.  As we are given insight into these two people, their character and nature unfolds, presenting us with people we can relate to.  Even if we fail to grasp the fullness of a feeling or circumstance, we are still touched on our own level, evidencing the brilliance of Chekhov’s writing.             In the exposition of the story, Chekhov immediately delves into his character generation, introducing us to both Anna Sergeevna and Dmitri Gurov, the main players in the story.  He also gives us a physical description of Anna, as well as a beginning presentation of Dmitri’s character.  Of Anna, Chekhov writes, “…a young woman, not very tall, blond, in a beret, walking along the embankment; behind her ran a white spitz” (Chekhov 144). Of Dmitri he comments, “Gurov, who had already spent two weeks in Yalta…began to take an interest in new faces”  (Chekhov 144).  Chekhov immediately offers a feel for how each character will shape up to be, and presents a chance for us (the reader) to attach ourselves to these perhaps not-so-unique individuals.  Without further ado, Chekhov expounds on his initial description of Dmitri through the next five paragraphs.  We learn that he is almost forty, has three children and a wife, but that he is not happy at home.  He married early, and is not in love with his wife.  He outwardly proclaims extreme chauvinism towards women, but we learn that “in the company of men he was bored, ill at ease, with them he was taciturn and cold, but when he was among women, he felt himself free and knew what to talk about with them and how to behave; and he was at ease even being silent with them” (Chekhov 144).  Through this description, Dmitri gains a soul and personality.  He becomes a round, developed character with whom we can relate and identify ourselves.  Even if we are not completely like Dmitri, his “normal” character helps us to identify ourselves with him in some way.             Chekhov’s ability to define character and produce an effect in the reader is not limited only to the description and action provided in the story.  He expertly weaves location and setting into the development of theme.  “Setting is essential if the reader is to be given the opportunity to glimpse a truth about the internal life from the characters and the plot” (Charters 1008).  The story begins in Yalta, obviously in warmer weather, which sets a happy tone for the exposition.  However, once the couple meets, the weather begins to change.  “A week had passed since they became acquainted.  It was Sunday.  Inside it was stuffy, but outside the dust flew in whirls, hats blew off”  (Chekhov 146).  Chekhov illustrates how the characters are developing through the change in the weather.  In the beginning, when the relationship is mostly superficial, the sun is shining, and it’s a nice time for a stroll.  However, as the adulterous relationship continues, the weather become tumultuous, foreshadowing the turmoil that will soon begin inside both Anna and Dmitri.  After the lovers commit their adulterous deeds, “when they went out, there was not a soul on the embankment, the town with its cypresses looked completely dead…” (Chekhov 147), indicating the death inside both the lovers.  There is no turning back at this point, and death may loom ahead.  Through the environment the characters live in, we learn what they are going through, and understanding of the characters expand beyond mere words and actions.             The brilliance of Chekhov’s writing cannot be overstated.  In “The Lady with the Little Dog” there is an untypical depth to the relationship between Anna and Dmitri.  While the plot itself may be little more than that of a soap opera, the development and depth to which the characters are taken is far beyond any afternoon television program.  As Richard Ford says, Chekhov “concentrates [his] narrative attentions not on the conventional hot spots – sex, deceit, and what happens at the end – but rather, by its precision, pacing, and decisions about what to tell, it directs our interest toward those flatter terrains of a love affair where we, being conventional souls, might overlook something important”  (871).  Sex, lies, and deceit do take place, but they are all off stage.  Chekhov takes this critical time to develop character, showing us what is going on inside the souls of the adulterers, rather than sensationalizing on the outside events that are all too popular in today’s society (as well as back when the story was written).             Although Chekhov’s story is filled with complex issues of moral struggle and turmoil, it is a story we can all relate to.  Everyone faces difficult decisions in life, and Chekhov brings the inner mayhem to light.  Focus upon people rather than events impacts us in ways we cannot even describe.  We are connected to the people in the story as we identify with the feelings and personalities of these fictional characters.  “Everything that he [Gurov]  found important, interesting, necessary, in which he was sincere and did not deceive himself, which constituted the core of his life, occurred in secret from others” (Chekhov 154).   We are forced to reflect upon circumstances in our own lives, and all of life’s little nuances become significant once we realize that they affect the fiber of our being.  Chekhov attracts “attention to mature feelings, to complicated human dilemmas, any part of which, were we to encounter them in our complex, headlong life with others, might evade even sophisticated notice” (Ford 869).  We become more sensitive to human interaction, and begin to empathize with others, beyond the mere situation, and their deep inner struggles.             Without the brilliant illustration of Chekhov’s characters, we would miss much of the meaning of the story.  “The importance of being honest with your feelings” could be a theme in “The Lady with the Little Dog.”  If Chekhov did not produce such dynamic, realistic characters, we might be insensitive to the true feelings of Anna and Dmitri.  This character development is essential to understanding of the theme.  “And only now, when his head was gray, had he really fallen in love as one ought to – for the first time in his life” (Chekhov 155).  Chekhov tells the reader, “It’s not too late.  ‘Even when [your] head [is] gray’ you can still find true love.”  Once the reader has identified with the character, they begin to take the practice (and success) of the character to bear in their own life.  The theme is fully digested, and creates inspiration in the reader to begin their own quest for truth. Works Cited Charters, Ann, ed.  The Story and Its Writer: An Introduction to Short Fiction .             Compact 6 th ed.  Boston: Bedford-St. Martin’s, 2002. Chekhov, Anton.  “The Lady with the Little Dog.”  Rpt. The Story and Its Writer: An Introduction to Short Fiction.  Ed. Ann Charters.  Compact 6 th ed.  Boston; Bedford/St. Martin’s, 2002.  143-155. Ford, Richard.  “Why We Like Chekhov.”  Rpt.  The Story and Its Writer: An Introduction to Short Fiction .  Ed. Ann Charters.  Compact 6 th ed.  Boston; Bedford/St. Martin’s, 2002.  143-155.

© 2002, Josh Goodall Top of this page

Christalyn Grantier ENG 104, Prof. C. Agatucci Midterm Literary Analysis Paper 4 November 2002

Plot vs. Point of View in Chopin's "Story of An Hour"

            Kate Chopin’s “Story of an Hour” tells the tale of an evolution of a character in a single hour.  Chopin accomplishes this by using a specific point of view and unique plot to carry out her vision. These elements work together to create a theme that has the greatest impact on the reader.              Ann Charters defines “point of view” as “the author’s choice of narrator for the story”(1009).   “The Story of an Hour” is told from the viewpoint of a third-person narrator.  This speaker is a “non-participant in the story” (Charters 1009).  Never does the narrator include herself in the plot of “Hour.”  Specifically, this speaker has only “limited omniscience” as she relates the story.  According to Charters, a speaker with limited omniscience is able to know what is going on in the mind of a single character, but not have a full understanding of, or chooses not to reveal to the readers, the minds of all the characters (Charters 1009).  For example, the emotions and thoughts of Mrs. Mallard are fully described within the story.  We see her grief, but also the thoughts of freedom that begin to come to her mind (Chopin 157-8).  Because the narrator does not show all the aspects of the story, it allows the fact of her husband being alive to be a surprise (Chopin 158).  The narrator, because he or she is not a member of the story, may be able to be trusted more by the reader than a person involved directly in the story (Charters 1010).  The narrator is considered more “objective” (Agatucci 4).             The author, Kate Chopin, was a great admirer of Guy de Maupassant, a writer of the realist genre (Agatucci 4).  Maupassant stated that “The writer’s goal is to reproduce this illusion of life faithfully…” (Maupassant 898).  Chopin used a point of view in “Story of an Hour” very similar to that of Maupassant when he wrote “The Necklace.”  The author’s factual account allows a reader to experience this “illusion of life”.  According to Maupassant, a writer should find a new way of looking at a situation (Charters 523).  Chopin, in attempting to imitate the genre embraced by this author, looked at a situation of the death of a husband in a unique way.  She accomplished this by presenting the true feelings of a widow and contrasting those feelings with society’s beliefs.  Working in the realistic genre, Chopin presented a more “disillusioned” view of life (Agatucci 4).  Chopin did not portray the accepted norms of society.  She did not state that the wife could not go on without her husband.  By contrast, she viewed her story with a new concept, that of a wife feeling empowered to go on living because her husband was no longer alive.             The thoughts and actions of these characters can be seen in the development of the plot.  Point of view is how a reader is able to look into a story; the plot is the arrangement of the incidents themselves (Charter 1003, 1009).  Charters defines plot as “the sequence of events in a story and their relation to one another as they develop and usually resolve a conflict”(1003).  The sequences within this story are quite short because this story occurs in the course of a single hour.  The conflict present in this story is all within the protagonist, “the main character of [the] narrative” (Charters 1051).  Without the view which allows the reader to see inside the mind of Mrs. Mallard, the reader would not be aware of the true conflict. Without this insight, a reader might assume, like Mrs. Mallard’s sister, that the conflict of the wife was the grief associated with her husband’s death (Chopin 158).  The point of view allows the reader to see the true conflict within the plot and to sense the freedom that is eventually embraced by the protagonist (Chopin 158).             The life of the author seems to have an impact on the plot.  Kate Chopin had a very similar experience as Mrs. Mallard in the tragic death of her father.  Chopin’s father perished when she was young in a train accident (Chopin 157; and “Katherine Chopin”).  Also, she did not begin writing until after her mother and husband had both passed away (“Katherine Chopin”).  She herself stated that “If it were possible for my husband and my mother to come back to earth, I feel that I would unhesitatingly give up every thing that has come into my life since they left it and join my existence again with theirs. To do that, I would have to forget the past ten years of my growth -- my real growth” (O'Brien).  This suggests Chopin sympathized with Mrs. Mallard, who had found new freedom in the death of a loved one (Chopin 158).  Kate Chopin had a bicultural background.  According to Contemporary Authors , this author’s great-grandmother related stories of her ancestors, including those about “notorious infidels” (“Katherine Chopin”).  This may have given Chopin confidence to explore topics not generally discussed by the society of her day.             The plot itself has some very distinct characteristics that are of the literary realism genre.  First, it is believable.  Most people believe that heart disease and train accidents do exist (Chopin 157).  Authors writing within this style often chose to look at the nature of human beings (Agatucci 3).  The entire plot of “Story of An Hour” is that of describing the nature of the characters.  The plot begins by depicting the reaction of Mrs. Mallard’s sister and Mr. Mallard’s friend (Chopin 157).  The evolution of the emotional nature of Mrs. Mallard is described as she sits alone (Chopin157-158).  Finally, we see the nature of society at that time, totally ignorant of the true feelings felt by the wife about her husband.  Agatucci describes this impact on characters such as Mrs. Mallard as “ordinary people of contemporary times live it in society, caught up by social…forces” (3). The social forces of this time included, what could be referred to as society’s “repression” of women.    Seyersted describes this time period as a society in which “a society where man makes the rules, woman is often kept in a state of tutelage and regarded as property or as a servant”.  Seyersted quotes Chopin herself in saying, “As Mme. de Stael's Corinne is told: Whatever extraordinary gifts she may have, her duty and ‘her proper destiny is to devote herself to her husband and to the raising of her children’.”  This type of society had a great impact on the plot of this story.  The reader can better understand the situation of Mrs. Mallard.  Her destiny was that of devoting herself to her husband.  Even though she loved him and would weep upon seeing him dead, she welcomed the “procession of years that would belong to her absolutely” (Chopin 158).  Maureen Anderson refers to Chopin as having an “authorial skill through which she elegantly addresses society's flaws” present in all her works.             In conclusion, both the point of view and the plot of “Story of an Hour” work to create the theme of this story.  Theme is “a generalization about the meaning of a story” (Charters 1013).  The theme of Chopin’s story is how ignorant society was at that time of the true feelings experienced by repressed women.  First, the point of view allows us to see the inner emotions expressed by Mrs. Mallard.  Without a speaker with limited omniscience, a reader would never realize what was truly being felt by the protagonist, and the theme would be lost.  Because the narrator is outside the story and could be considered more objective, the reader is more likely to believe that these feelings experienced by Mrs. Mallard are true.  If Mrs. Mallard or the sister had told the story, readers would have gotten two different, biased accounts.  The point of view allows a reader to feel that this really could have happened, an “illusion of life”, thereby making the theme more powerful.  The plot allows Mrs. Mallard to explore her feelings of repression and finally accept the fact that she can rejoice in the freedom of being a widow (Chopin 158).  The surprise ending, the return of Mr. Mallard and the death of Mrs. Mallard, gives the reader a chance to understand the ironic beliefs of society (Chopin 158).  The irony can be seen in the totally contradictory feelings of the protagonist and society.  Mrs. Mallard, upon seeing her husband alive, was suddenly thrown back into a situation in which she had “thought with a shudder that life might be long” (Chopin 158).  It was this great shock and grief that led to her death, not the “joy that kills” (Chopin 158).

Works Cited

Agatucci, Cora.  (Professor of English, Humanities Dept., Central Oregon Community College).  “Emergence of the Short Story: Literary Romanticism and Realism- Poe and Maupassant; Myth Lit. Theory”.  In-Class Presentation, English 104: Introduction to Literature-Fiction, Central Oregon Community College [Bend, OR].  Fall 2002.  Handout. Anderson, Maureen. “Unraveling the Southern Pastoral Tradition: A New Look at Kate Chopin's At Fault .” Southern Literary Journal 34.1: 1-14. Rpt. Ebsco Host Academic Search Elite , 2001; Article No. 6124416. Charters, Ann. “Appendix 3: The Elements of Fiction.” The Story and Its Writer: An Introduction to Short Fiction .  Compact 6 th Edition.  Boston: Bedford/St. Martin’s, 2003.  1003-1015. Chopin, Kate. “The Story of an Hour”. [First published 1894.]  Rpt. The Story and Its Writer: An Introduction to Short Fiction .  Ed. Ann Charters.  Compact 6 th Edition.  Boston: Bedford/St. Martin’s, 2003. 157-158. “Katherine Chopin, 1851-1904.”  [New Entry: 28 Apr. 1998.] Contemporary Authors Online . The Gale Group, 2000.  Rpt. Gale Literature Resource Center [Online Subscription Database].  The Gale Group, 2002. Maupassant, Guy de.  “The Writer’s Goal”.  [First published 1888.]  Rpt. The Story and Its Writer: An Introduction to Short Fiction .  Ed. Ann Charters.  Compact 6 th Edition.  Boston: Bedford/St. Martin’s, 2003.  896-898. O'Brien, Sharon. “Bored Wives and Jubilant Widows”. The New York Times 30 Dec. 1990, late. ed., sec. 7: 10. Rpt. Lexis-Nexis . 28 Oct. 2002. Seyersted, Per.  [Excerpt from] Kate Chopin: A Critical Biography .  Louisiana State University Press, 1969.  246.  Rpt. World Literature Criticism Supplement , Vol.1. Gale Literature Resource Center [Online Subscription Database].  The Gale Group, 2002.

© 2002, Christalyn Grantier Top of this page

Jennifer Stewart ENG 104, Prof. C. Agatucci Revised Midterm Literary Analysis Paper 25 November 2002   Literary Analysis of Maupassant's "The Necklace"             One of Guy De Maupassant's literary influences was Gustave Flaubert, who taught him to write. Flaubert's teaching principles suggested that the "writer must look at everything to find some aspect of it that no one has yet seen or expressed," thus providing the reader a new or different view of life (Charters, "Maupassant" header 523). Maupassant succeeded in being a writer "who had entered into himself and looked out upon life through his own being and with his own eyes," according to Kate Chopin (861). He wrote "realistic fiction" and greatly influences writers still (Charters, "Brief History" 998). "The Necklace" was written in the 19 th century Literary Realism period. The story focuses on "everyday events, lives, [and the] relationships of middle/lower class," and it provides a glimpse of normal people and how they are influenced by "social and economic forces" (Agatucci 4). The meaning of " The Necklace " is developed through the depiction of the characters and the plot of the story. Maupassant stated that the story is not only a form of entertainment but a tool "to make us think and to make us understand the deep and hidden meaning of events" ("Writer's" 896). I found that the theme of "The Necklace" exhibits the importance of honesty and being happy with who you are. It shows that things are not always what they seem, material things do not define the person and that money cannot solve all problems and may in fact create them. Donald Adamson describes the main character, Mathilde, as a "poor but an honest woman," I disagree with his opinion. Mathilde's dishonesty changes her life and forces her to know "the horrible existence of the needy" (Maupassant 528). "The Necklace" is a story about Mathilde, a miserable and selfish wife of a "little clerk" who suffers "from the poverty of her dwelling," and dreams of a rich and elegant lifestyle where she is beautiful and "envied" (Maupassant, "Necklace", 524). This conflict within Mathilde drives her throughout the story. Her dedicated husband, M. Loisel, is content with their life and wishes to make her happy despite everything he must endure. After obtaining an invitation to a ball that was an "awful trouble to get," he eagerly takes it home to his wife who is ungrateful because she does not feel that she has anything suitable to wear (525). After having a new dress made, Mathilde can't imagine going to the ball without "a single jewel" so she borrows a beautiful necklace from her friend Mme. Forestier (526). The day of the ball proved to be everything Mathilde imagined, but it all ends when she loses the necklace. Although M. Loisel and Mathilde find a replacement necklace, they spend "ten years in grinding poverty until they finally paid off their debt," only to discover that the necklace was not a diamond necklace but just "mere costume jewellery" (Adamson). Charters defines plot as the "sequence of events in a story and their relation to one another as they develop and usually resolve a conflict" ("Elements" 1003). In the exposition of "The Necklace," Maupassant provides a detailed "character portrait" of Mathilde and offers some important details about M. Loisel (Adamson). It is obvious that conflict exists inside of Mathilde. She feels she is too good for the life she leads.  She is unhappy with who she is and dreams of being someone else. On the contrary, M. Loisel is happy and satisfied to come home to his wife who prepares him an "economical but tasty meal" (Smith). Mathilde is very materialistic and believes that riches would end her suffering, she won't even visit a rich friend and "former classmate at the convent" because she is so jealous and envious. The rising action of the plot begins when M. Loisel presents the invitation to Mathilde. This presentation only aggravates the conflict that exists within Mathilde and she cannot imagine going to the ball in any of her old dresses. Mathilde sheds two pitiful tears and M. Loisel "quickly decides to sacrifice his savings" so that she may purchase a new dress (Smith). Mathilde is not satisfied with just a new dress! She believes it would be a disgrace to show up at the ball without jewelry. She must not "look poor among other women who are rich" (Maupassant 526). So she borrows a "superb necklace of diamonds" from Mme. Forestier (526). In this passage Maupassant convinces the reader that the necklace is real diamonds; "he misleads the reader into believing that the necklace really is valuable" (Adamson). This creates more excitement for the climax of the story when Mathilde loses the necklace on her way home from the ball. M. Loisel responds by going to search for the necklace to no avail. He does not find the necklace and instructs Mathilde to lie to Mme. Forestier and tell her that she has broken the necklace and will need time to have it repaired. If Mathilde would have chosen to be honest at this point, Mme. Forestier would have told her that the necklace was only "paste…worth at most five hundred francs" (530).  Instead they find a suitable replacement necklace that costs thirty-six thousand francs. After one week M. Loisel "had aged five years," and was forced to use his inheritance and borrow money "risking his signature without even knowing if he could meet it" to buy the replacement necklace (Maupassant, "Necklace" 528). Upon returning the necklace to her friend, Mathilde discovered the "horrible existence of the needy" (528). They "dismissed their servant" and gave up their flat. Mathilde became a "woman of impoverished households - strong and hard and rough" (529). She was forced to haggle and defend their "miserable money" (529). It took them ten years to pay off all of their debts. Mathilde was no longer pretty and charming, she now had "frowsy hair… and red hands" (529). These trials and tribulations represent the falling action of the story, where the conflict is moving toward a resolution (Charters, "Elements" 1005). Guy De Maupassant's narrator and Donald Adamson use the term hero when describing Mme. Loisel, but I do not feel that her actions were heroic. She was just fulfilling the duties that were always expected of her, but that she felt she was too good for. I do not believe that dishonesty is a trait of a hero. Perhaps if Mathilde would have been honest with Mme. Forestier from the beginning about losing the necklace, she would have explained that it was not real diamonds and they could have avoided all of the hardships they endured. Some may argue that Mathilde was heroic because she took responsibility for her mistake, gave up her lifestyle and worked to repay the debt. It was admirable that she did not expect her husband to bear the burden alone. The conclusion of "The Necklace" undoubtedly contains an element of surprise. Mathilde discovers that the necklace was not made of diamonds, but imitation gems. This devastating discovery leaves many unanswered questions.      Maupassant's narrator uses limited omniscient narration by describing Mathilde with her thoughts. She is a round character capable of choosing alternative responses to the situations presented to her (Charters, "Elements" 1007). I believe Mathilde is both a dynamic and a static character. She is dynamic because she does undergo a significant change and takes on the duties of a poverty stricken housewife. Yet she remains static in that she is still not content with her life and dreams of that "gay evening long ago, of that ball where she had been so beautiful" (Maupassant, "Necklace" 529).  Her husband M. Loisel is also a round character, the "play and pull of his actions and responses to situations" could be observed throughout the story (Charters, "Elements" 1007). When Mathilde is unhappy with the invitation to the ball he offers to buy her a new dress. When she wants jewelry he recommends borrowing from Mme. Forestier and when she loses the necklace he collects the money to replace it. Although M. Loisel does experience some change, he is a static character. I believe he is content and happy with his life throughout the story. He continues to work hard and stays dedicated to Mathilde. The themes of "The Necklace" are evident throughout the plot of the story. If only Mathilde would have been honest with Mme. Forestier and happy with who she was, she could have prevented the whole ordeal. Her misfortune proves to the reader that honesty is the best choice. Maupassant warns the reader of the afflictions that vanity may cause. There was no need for Mathilde to wear a diamond necklace; she was too concerned about what others would think of her. The fake diamond necklace proves that things are not always what they seem, although Mme. Forestier appeared to be rich, she chose or may have only been able to afford costume jewelry. I believe "The Necklace" serves as a reminder of the importance of being happy and proud of who we are regardless of the amount of material things or money that we possess. Works Cited Adamson, Donald. ""The Necklace': Overview." Reference Guide to World Literature . 2 nd ed. Ed. Lesley Henderson. St. James Press, 1995. Rpt. Gale Literature Resource Center [Outline Subscription Database]. The Gale Group, 2002. Agatucci, Cora (Professor of English, Humanities Dept., Central Oregon Community College). "Emergence of the Short Story: Literary Romanticism and Realism - Poe and Maupassant; Myth Lit. Theory." Week #4 Presentation/Handout Outline. Charters, Ann. "Appendix 2: A Brief History of the Short Story." The Story and Its Writer: An Introduction to Short Fiction . Compact 6 th ed. Boston: Bedford-St. Martin's, 2003. 995-1002. Charters, Ann. "Appendix 3: The Elements of Fiction." The Story and Its Writer: An Introduction to Short Fiction . Compact 6 th ed. Boston: Bedford-St. Martin's, 2003. 1003-1015. Charters, Ann. "Guy De Maupassant" [header note]. The Story and Its Writer: An Introduction to Short Fiction . Compact 6 th ed. Boston: Bedford-St. Martin's, 2003. 523. Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction . Compact 6 th ed. Boston: Bedford-St. Martin's, 2003. Chopin, Kate. "How I stumbled upon Maupassant." [First published 1896] Rpt. The Story and Its Writer: An Introduction to Short Fiction. Ed. Ann Charters. Compact Sixth ed. Boston: Bedford/St. Martin's, 2003. Maupassant, Guy De. "The Necklace." [First published 1884.] Rpt. The Story and Its Writer: An Introduction to Short Fiction. Ed. Ann Charters. Compact Sixth ed. Boston: Bedford/St. Martin's, 2003. 524-530. Maupassant, Guy De. "The Writer's Goal." [First published 1888.] Rpt. The Story and Its Writer: An Introduction to Short Fiction. Ed. Ann Charters. Compact Sixth ed. Boston: Bedford/St. Martin's, 2003. 896-898. Smith, Christopher. "The Necklace': Overview." Reference Guide to Short Fiction . Ed. Noelle Watson, St. James Press, 1994. Rpt. Gale Literature Resource Center [Online Subscription Database.] The Gale Group, 2002.

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Ruzha Todorova ENG 104, Prof. C. Agatucci Literary Analysis Paper 4 November 2002 A Cure for Temporary Depression The Yellow Wallpaper , written by Charlotte Perkins Gilman, is a story of a young depressed woman, traveling to the country with her husband, so that she can be away from writing, which seems to have a bad impact on her psychological condition. Sandra Gilbert and Susan Gubar call it ”a striking story of female confinement and escape, a paradigmatic tale which (like Jane Eyre) seems to tell the story that all literary women would tell if they could speak their ‘speechless woe’” (874). In this story theme and point of view interlace and work together to create an intense description of an almost prison-like prescription for overcoming depression. She struggles with male oppression, because she is told by her husband and her brother many things about her own health that she disagrees with. She strives for independence, and she wants to break free from the bondages of that oppression. The story is written from the character’s point of view in a form resembling journal entries, which describe her stay in the house. The house itself is an old mansion, and the yellow wallpaper in the character’s bedroom seems to be really disturbing. She believes that there is a woman locked behind bars living in the pattern of that wallpaper. She spends a lot of time trying to figure it out, and in the end she completely breaks away even from her own mind.            Ann Charters defines theme as the “generalization about the meaning of a story” (1013). The theme in The Yellow Wallpaper describes the struggle of women to live in a male-dominated society. Gilman portrays the man as insensitive and lacking in emotional support. From the beginning of the story forward the narrator speaks of how her husband and other men in her life direct her so that she will recover quickly. The narrator shows that even though she is convinced that she knows what to do about her depression, she is still influenced by her husband with the following passage: "I sometimes fancy that in my condition if I had less opposition and more society and stimulus – but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad" (306). Her husband seems to be the one who can change her thoughts because he is a man or because he is her husband. Nonetheless, she is still being suppressed by a member of the opposite sex. Many times the narrator also speaks in a way that suggests that because a man speaks she has no means by which to disagree with him because she is a woman. A perfect example of this is presented in the beginning passages of the story, where the narrator states, "Personally, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would do me good. But what is one to do?" (306). This last sentence "But what is one to do?" exemplifies wonderfully her oppressed female stature in the society of her life. She states right from the beginning that "John is a physician, and perhaps - (I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind) - perhaps that is the one reason I do not get well faster" (306). She obviously loves her husband and trusts him but has some underlying feeling that maybe his prescription of total bed rest is not working for her. In the second passage the narrator becomes comfortable with the room, now she likes the room enough and is curious enough to open up to her husband and tell him what she thinks she has been seeing. John becomes terrified of these ideas she has in her head and what she might believe to be real and not real. He begins to plead with her and tries to convince her that she must control all of her ambitions and act sanely. Later John is trying to manipulate the narrator with guilt. He is implying that she must think of herself as getting better, mind and body, for the sake of other people, rather than herself. The narrator is, however, doubting that she will ever recover mentally. Although John says her appearance has improved, she believes that she is not physically better. The final passages of the story, at last, successfully manifest a display of power and possible regain of self-governance through the narrator's finally standing up to her husband by locking him out of the room in which he has imprisoned her supposedly for her benefit. Whereupon, for the first time in the story, he must listen to her entreaties to discover where the key is hidden (317).           According to Charters, point of view is “the author’s choice of a narrator for the story” (1009). In this story the narrator is a first person narrator. We can easily see what is going on the head of the main character. We can feel sorry for her because she is a victim of male oppression. However, we are presented with a biased story. We can only see the events that take place from her point of view, which turns out to be quite distorted.  She stares at this wallpaper for hours on end and thinks she sees a woman behind the paper. "I didn't realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman" (313). She becomes obsessed with discovering what is behind that pattern and what it is doing. "I don't want to leave now until I have found it out" (314). Once the narrator determines that the image is in fact a woman struggling to become free, she somehow aligns herself with the woman. We don’t see that until she mentions that she often sees the woman creeping outside: "I see her in that long shaded lane, creeping up and down. I see her in those dark grape arbors, creeping all around the garden.... I don't blame her a bit. It must be very humiliating to be caught creeping by daylight! I always lock the door when I creep by daylight. I can't do it at night, for I know John would suspect something at once" (315). This shows the narrator seeing herself in the woman and when she sees the woman creeping outside, she sees herself. When she creeps outside she locks the door. She is afraid her husband will take away the only comfort she has. She continues to pursue this obsessive idea that she has to get the woman out. The narrator wants the woman to be free of the paper but does not want to let her go, because the woman is what keeps her focused and sane: "I don't want to go out, and I don't want to have anybody come in, till John comes. I want to astonish him. I've got a rope up here that even Jennie did not find. If that woman does get out, and tries to get away, I can tie her!" (317). She peels all the wallpaper that she can reach. She wants to help the woman get out, and she becomes quite extreme: "I am getting angry enough to do something desperate. To jump out of the window would be admirable exercise, but the bars are too strong even to try. Besides I wouldn't do it. Of course not. I know well enough that a step like that is improper and might be misconstrued" (317). She goes on to say, "I don't like to look out of the windows even--there are so many those creeping women, and they creep so fast. I wonder if they all come out of that wallpaper as I did?” (317). It seems she has released the woman and it is indeed herself. As if she enjoys being out and doing as she likes but at night her husband will be around and she mustn't creep around her husband. He might find her mad. But at last she finds the courage to confront her oppressor and stand up for herself. "'What is the matter?' he cried. 'For God's sake, what are you doing!' I kept on creeping just the same, but I looked at him over my shoulder. 'I've got out at last,' said I, 'in spite of you and Jane. And I've pulled off most of the paper, so you can't put me back!'” (318). Jane is undoubtedly the narrator herself. She is the result of a distorted mind trying to free herself from the male oppression. From the narrator’s point of view we had this fact hidden throughout the story. However, as soon as her mind has freed itself, she had freed herself both from her husband and from her own identity.           In order to read and understand this story, we must consider many things. First the time frame in which the story was written, and that society's attitude of the story content at that time. Written in 1892, a woman suffering from depression was not clearly understood and was treated with isolation. This would clearly drive any person mad. The narrator made attempts to bring to her husband's attention what she felt was a better way of making her better but he refused to listen and ignored her wishes to involve herself in more activity. This was the experience of Gilman herself. She shares that she wrote The Yellow Wallpaper   “to save people from being crazy” (879).

Charters, Ann. “The Elements of Fiction”. The Story and Its Writer: An Introduction to Short Fiction . Compact 6 th ed.  Boston: Bedford/St. Martin’s, 2003.  1003 – 1015. Gilbert, Sandra m., and Gubar, Susan. “A Feminist Reading of Gilman’s ‘The Yellow Wallpaper’.” [First published 1979.] Rpt. The Story and Its Writer: An Introduction to Short Fiction . Ed. Ann Charters. Compact 6 th ed.  Boston: Bedford/St. Martin’s, 2003. 873 – 875. Gilman, Charlotte Perkins. “The Yellow Wallpaper.” [First published 1892.] Rpt. The Story and Its Writer: An Introduction to Short Fiction . Ed. Ann Charters. Compact 6 th ed.  Boston: Bedford/St. Martin’s, 2003. 306 – 318. Gilman, Charlotte Perkins. “Why I Wrote ‘The Yellow Wallpaper’.” [First published 1913.] Rpt. The Story and Its Writer: An Introduction to Short Fiction . Ed. Ann Charters. Compact 6 th ed.  Boston: Bedford/St. Martin’s, 2003. 878 – 879.

© 2002, Ruzha Todorova

Sheena Van Landuyt ENG 104, Prof. C. Agatucci Literary Analysis Paper 27 November 2002 HIDDEN LABYRINTH               To complete a puzzle properly each and every piece must be accounted for; otherwise the final product is never comprehensive.  A puzzle with missing pieces is very much like a story with missing elements.  Every element plays an important role in the meaning and the integrity of the story.  Clearly, with a puzzle there are pieces that are more consequential if missing than others.  Just like a puzzle there are significant elements in a story that make a big difference.  If such elements are removed some of the realistic aspects a story needs for readers to be able to relate are missing as well.  Although there are many elements that go into a story there are two that are profoundly important to have in a story.  These two elements are recognized as the plot and characters.             A plot can be described as the “sequence of events in a story and there relation to one another as they develop and usually resolve a conflict” (Charters, “Elements” 1003).  It is usually desirable for the author to present the plot in the beginning of the story, laid out so readers can easily follow the events and their significance (Charters, “Elements” 1003).  The conflict within the story is profoundly important to how the plot is going to be laid out since the plot itself is usually impacted by the conflict throughout the story.  This point can be seen in Maupassant’s “The Necklace” extremely well.  In the beginning of the story “The Necklace” Maupassant lays out the foundation of the conflict for his readers.  Mme. Loisel is a pretty woman who longs for something more than she has and she pays for this throughout the story ( Maupassant 524).  This internal conflict expands throughout the entire story.  Mme. Loisel wants to be richer but she is married to a clerk and is far from rich (Maupassant 524).  This first conflict illustrated by Maupassant drives the story very well.  The second conflict presented in “The Necklace” was when the dinner invitation came.  This conflict seems to be more external, because it is not a conflict Mme. Loisel has been struggling with internally for years.  However, when the dinner invitation is presented another conflict is introduced.  Mme. Loisel wants to attend this elaborate dinner, but not unless she can be in the most magnificent clothing and jewelry (Maupassant 525).  This point is well illustrated when Mme. Loisel states, “there is nothing more humiliating than to look poor among other women who are rich” (Maupassant 526).  Continuously after these two conflicts are introduced, she is introduced to more that get her into trouble.  Thus the conflict within the story is driving the plot and consistently reappearing (Charters, “Elements” 1003).              Within the plot there are components that are critically important when exploring a story.  These components consist of exposition, rising action, climax, falling action and conclusion (Charters, “Elements” 1004-1005).  Exposition includes the “introduction of characters, scene, time, and situation (Charters, “Elements” 1004).  In “The Necklace” the exposition seemed to be in the beginning when the introduction of Mme. Loisel is taking place.  At this point the author gives only a brief background of the past and present dimensions of her life (Maupassant 524).  The rising action of a story is generally “the dramatization of events that complicate the situation and gradually intensify the conflict” (Charters, “Elements” 1005).  In “The Necklace” this point would be when the couple is invited to the dinner party the reader can not tell at this point that the invitation is significant but it is (Maupassant 525).  The climax can basically be described as the “turning point” in the story (Charters, “Elements” 1005).  The climax is this particular story would surely be when Mme. Loisel discovers her necklace as missing (Maupassant 527).  The falling action moves the conflict towards a solution (Charters, “Elements” 1005).  In Mme. Loisel’s case this would be when she sees her friend Mme. Forestier on the street and confronts her.  Once the conclusion sets in and ties together all the loose strings, the reader get the surprise that the necklace was fake the entire time (Maupassant 530).  As one can see the plot plays a huge role in the development of a short story.             Another important aspect of developing a short story is the character developed in the context of the story.  It is important that characters be realistic in any story.  Writers can accomplish the task of reality by making the characters either dynamic or static (Charters, “Elements” 1007).  A static character is one that does not change throughout the story, while a dynamic character changes.  Mme. Loisel is both a static and dynamic character.  Mme. Loisel changes when the necklace disappears making her dynamic.  This is true in the beginning she is from lower middle class where she has a comfortable home and servants (Maupassant 524).  However, when the necklace disappears and must be replaced, she is forced to release her servants and change her lodging in order to pay off her debts.  This change in Mme. Loisel is permanent thus making her a dynamic character (Maupassant 528).             It is also easy for one to see Mme. Loisel as a static character also.  This is due to the fact that Mme. Loisel never really changes in some aspects.  Throughout the entire story she is envious of other people.  One can see this at the beginning of the story with the introduction of the invitation.   At this point Mme. Loisel insists on an expensive dress and necklace (Maupassant 525-526).  It can also be seen at the end of the story when Mme. Loisel sees her friend Jeanne again for the first time in awhile and is still envious of her wealth and beauty.  This aspect of Mme. Loisel’s character also makes her static (Maupassant 529-530).  One can see how the plot and characters’ play an important role together in shaping the story and laying it out for the reader to understand.  The plot helps to set the conflict, which in turn drives the plot as well as characters actions and motives.             As an author, having the ability to integrate such important elements of a story successfully can be very difficult.  Guy De Maupassant was not a naturally gifted writer, which makes the morals and outline of his stories even more believable (Charters, “Guy De” 523).  Maupassant had difficulties in school while he was younger, which may explain why he joined the army during the 1870-71 Franco-Prussian War (Charters, “Guy De” 523).  Maupassant was later taught how to write by a relative of the name Gustave Flaubert.  Maupassant recalled writing, “verses, short stories, longer stories, even a wretched play. Nothing survived.  The master read everything” (Charters, “Guy De” 523).  It seemed that Maupassant was not a natural talent when it came to writing, which makes his writing meaningful because he must have struggled to write well and overcame the challenge.  Flaubert instructed Maupassant that “talent is nothing other than a long patience. Work” (Charters, “Guy De” 523).  This may be an important aspect of Maupassant’s life to examine.  Maupassant writings seem to be packed with morals and hidden messages possibly due to lessons installed by Flaubert.              Another important lesson Flaubert tried to install in his pupil was to look at everything within the context of any literary work and discover the one component that every other reader has missed.  Flaubert explained the fact that every piece has some hidden labyrinth or message unexplored (Charters, “Guy De” 523).  The lessons installed in Maupassant by Flaubert may be a large factor in the way he wrote.  Since Flaubert focused so much on details and hidden unexplored messages, it is easy to see why there are so many subtle clues in “The Necklace” that readers can discover and interpret as they wish.              Another important influence on Maupassant’s writing may simply be the era he was living in while he composed his stories.  Ann Charters explains that “Maupassant’s plots are tightly organized and usually conclude with a decisive action” (Charters, “Brief History” 998).  Maupassant plays close attention to physical and mental details.  As a writer he favors a surprise ending, as one can tell by the ending of “The Necklace” (Charters, Brief History 998).  Maupassant’s literary era could be classified primarily as 19 th Century Literary Realism (Agatucci 3).  This period of literature involved real people with everyday events in which ordinary people could relate.  Also this period places a large importance on classes and relationships between upper and lower classes, which is what Maupassant does extremely well (Agatucci 3). Maupassant is an exceptional writer and as explained in her essay “How I Stumbled upon Maupassant,” Kate Chopin explains how readers may not realize just how wonderful he is until they truly understand him.  Kate Chopin explains her findings of Maupassant’s writing as somewhat of an inspiration.  Chopin believes that his writings do not speak to everyone as a group but to each reader individually, by what the reader sees and hears within the pages (Chopin 861).  Chopin describes Maupassant “as a man who escaped from tradition and authority, who had entered into himself and look out upon life through his own being” (Chopin 861).              It is almost as if Chopin found herself as a writer when she began to study Maupassant’s work.  Also she sees him as secretly telling hints of his stories within the pages.  Maupassant does not just come out and explain the important hidden messages within his stories; he expresses them through the feelings each reader experiences while reading his literature (Chopin 861).             It takes many special components to write a story.  Maupassant had the opportunity to show his readers the elegance of his writing.  Maupassant had a gift at combining elements of fiction like characters and plot.  Through the combination of his history, era and hard work he developed stories literature readers could enjoy and relate to for generations.

Works Cited to come . . .

© 2002, Sheena Van Landuyt

Anonymous #1 ENG 104, Prof. C. Agatucci Literary Analysis Paper 27 November 2002 [Untitled: On Chekhov's "The Lady with the Little Dog"] Anton Chekov is said to “ [to be] extremely modest about his extraordinary ability to empathize with the characters” that he wrote about in his stories (Charters, 134).  He was careful not stereotype any of the characters he portrayed nor did he over dramatize the story’s plot. The characters emotions and reactions to those emotions were the vehicle for the stories plot.  Chekov’s only desired to write about real people with real feelings which allowed his writings such as “The Lady with the Little Dog”, the seriousness and sympathy it deserves. Chekov emphasized on the man and the woman always being “ the two pole [of every story] (p. 949). Just as there are pulls toward poles of the earth so are the pulls on the characters in his stories; these pulls being forces of life and life circumstance. “The Lady with the Little Dog” demonstrates how reality forces undesired role play between a man and woman in love which is one of the definitive of literary realism established by Professor Agatucci; “[The Lady with the Little Dog] is an example of “A slice of life” such as ordinary people of contemporary times live in society caught up by social forces” (p. 3).  The story’s main characters, Anna and Dimitri, their desire to be together are conflicted with the duties they have in common which are husband and wife to two different people. However, the love that Dimitri and Anna share represents the struggle of duties just as the desire for most people in society to want to break from reality.              Dimitri, unlike Anna, was not upset or regretful of their love affair because “he had begun to be unfaithful to [his wife] long ago, was unfaithful often, and, probably for that reason, almost always spoke ill of women, and when they were discussed in his presence, he would say of them: ‘An inferior race!’”(p.144). Dimitri was introduced in the story as taking on an egotistical and selfish role knowing very well that not only was he beyond so many years to Anna but also, “in his tone and caresses, there has been a slight shade of mockery, the somewhat coarse arrogance of a happy man”  (p. 149).  He seemed to have had his way with Anna and did not want to fall short of this good thing.  In contrast, Anna responded in way that she was new to being unfaithful to her husband and maybe even realized that she was not Dimitri’s first mistress. She admits, “ I love an honest man, pure life, sin is vile to me, I myself don’t know what I’m doing”(p. 147).  Anna knew right from the first day she met Dimitri that she loved him but those feelings over powered her judgment and duty to her husband.  She could only try to justify that this was not real love that they shared but a scandalous and un-righteous thing to be apart of.             Anna and Dimitri are considered to be dynamic characters because not only to do they change the way they feel about each other but they also change the way they feel about their life circumstances.  Moreover, are also considered to be well-rounded characters encompassing the substance of the story Chekov intended.  Dimitir’s wife is only mentioned a few times and is considered to be a flat character because we do not get a sense for how she reacts to Dimitri’s scandalous love affairs. However, we do have Dimitri’s point of view of her to be a woman “who loved without sincerity, with superfluous talk, affectedly, with hysteria, with an expression as if it were not passion” (p. 146).  He obviously had a very superficial relationship with his wife that only made him compare his happiness and love with Anna.  Anna followed Dimitri everywhere, he could hear her breathing and saw resemblances of her in the oddest of places (p.150).  His life back home was boring and uninteresting to him.  He only became so appreciative by Anna’s beauty and the excitement that he gave him when she was away.  Meanwhile, Chekov did not explain to us the process by which she changed in her character however, Anna admitted that she adored him and he was all that she could think about.  She realized her triteness before when she tried thought that she was just a “trashy woman”(p.147).                   Dimitri’s desire to find Anna after many years of being in Moscow is considered to be an important turning point in the story.  Dimitri forfeits his strength that he could live without her because his emotions were too high strung and he valued being with her too intensely.  After meeting up with Anna at the Geisha , he was able to test Anna and wait for her to reveal her true feeling so that he was not just imaging she was in love with him.  And so the climax begins, Anna reveals, “ I think only of you all the time, I’ve lived with only thoughts of you.”  Furthermore, the falling action of the story is the plan of continued rendezvous’ in Moscow secretly.  He and Anna “loved each other like very close dear people, like husband and wife, like tender friends; it seemed to them that fate itself had destined them for each other, and they could not understand why he had a wife and she a husband” (p. 155).  They were bound like soul mates and did want to live the false lives they had with people they were not in love with.  So they knew that their problems were far from few and “ the most complicated and difficult part was just beginning” (p. 155).  The conclusion of a “happy ending” is left by the reader to implore because Chekov left it open with a purpose.  The purpose was to leave it less dramatic and predictable.             The love that these two people shared simplified the term “ love is pain” but more importantly they finally found each other and they did not have to live in falsity.  This true love was a new and treacherous territory that they did not want to avoid. The willingness they had caused them to want to break away from the roles that bound them for such a long time. Chekov showed transformation and humbleness of the characters in “The Lady with the Little Dog” and is a story that many could appeal to because of its deepest emotional level between the characters of Anna and Dimitri.

Agatucci, Cora (Professor of English, Humanities Dept., Central Oregon Community College). “Emergence of the Short Story: Literary Romanticism and Realism. Poe and Maupassant; Myth Lit. Theory.” In-class Presentation, English 104: Introduction to Literature: Fiction, Central Oregon Community College [Bend, OR.], Fall 2002. Online Handout –Outline [accessed] 21Oct. 2002:  http://www.cocc.edu /cagatucci/classes/eng104coursepack/shortstory.htm Carver, Raymond. “The Ashtray.”[First published 1984] Rpt. The Story and Its Writer: An Introduction to Short Fiction . Ed. Ann Charters. Compact 6 th ed. Boston: Bedford/ St. Martins, 2003. 949. Chekov, Anton.  “ The Lady with the Little Dog.” [First published 1899]. Rpt. The Story and Its Writer: An Introduction to Short Fiction.   Ed. Ann Charter. Compact 6 th ed.  Boston: Bedford/ St. Martin’s 2003. 143-155. Ford, Richard. “ Why We Like Chekov”. [First published 1998] Rpt. The Story and Its Writer: An Introduction to Short Story Fiction . Ed. Ann Charters. Compact 6 th ed. Boston: Bedford/St. Martin’s, 2003. 869-873.

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10 Literary Analysis Essay Examples

To write a literary analysis essay always understand the assignment thoroughly and identify the key elements e.g. plot, characters, and themes. Select a central theme to focus on and put together evidence to support your analysis.

Fredrick Eghosa

May 20, 2024

Table of Contents

Key Takeaways

How to structure a literary analysis essay, the introduction, start with an attention-grabbing hook:, provide context and background information., explain the significance of the work:, include your thesis statement., preview your main points:, body paragraphs, always start with a topic sentence:, provide textual evidence., identify and analyze the literary devices:, link back to the thesis statement:, use transitions:, restate your thesis statement:, summarize key points:, emphasize the importance of your analysis:, avoid introducing new information:, example conclusion:, how to write a literary analysis essay with a co-writer, analyze the assignment thoroughly., engage in active reading:, identify key elements, analyze narrative techniques, choose a theme to focus on using cowriter, identify potential themes in the literary work:, evaluate the significance and depth of the themes in the work:, tap into personal interest and interpretation:, examples of themes:, collect and interpret the evidence., write a thesis statement, develop your argument, refer back to your thesis statement, organize your essay structure, support your argument with evidence, use cowriter to write a rough draft., refine and review your essay, types of literary analysis essay, close reading analysis, character analysis, thematic analysis, comparative analysis, symbolism and allegory analysis, historical or cultural analysis, narrative or structural analysis, literary analysis essay examples pdf free download, wrapping up.

• A literary analysis essay extensively evaluates specific aspects of a literary work or the work as a whole and thoroughly examines elements such as character development, plot intricacies, and setting.
• A literary analysis essay follows the structure of a typical academic essay, including an introduction, body, and conclusion.
• To write a literary analysis essay, begin by thoroughly understanding your assignment and analyzing the chosen literary work. Identify critical elements in the literary work, such as plot, characters, and themes. Choose a central theme to focus on and gather evidence to support your analysis. Craft a strong thesis statement and develop a coherent argument. Proceed to write your essay and edit it to ensure it's error-free.
• You can use CoWriter to streamline and improve the writing process.
• There are different types of literary analysis essays, such as:
• Author's name
• Title of the work
• Any relevant context (historical, cultural, or biographical).
• For every theme you state and intend to explore, you must present specific quotes, passages, or scenes from the literary work(s) to support your argument.
• Explain how the textual evidence supports your argument and contributes to the thematic analysis.
• Reflect on your reading and note any recurring ideas, emotions, or messages the text conveys.
• Consider broader concepts explored in the work, such as love, power, identity, justice, freedom, or morality.
• Analyze characters' motivations and conflicts to uncover underlying thematic concerns.
• Choose a theme central to the narrative that plays a substantial role in shaping the characters or plot.
• Select a theme that allows for in-depth analysis and invites multiple interpretations. Avoid overly simplistic or superficial themes.
• Choose a theme that resonates with you or sparks curiosity. When you are genuinely interested in the theme, you can conduct thorough research and develop a compelling essay.

• Start by choosing specific quotes that are relevant to your analysis. Look for passages that contain vivid language, symbolism, or thematic significance.
• Pay attention to descriptive details, imagery, and figurative language used by the author to convey thematic messages.
• Proceed by providing the context for each quote to explain its significance within the narrative. Consider the surrounding events or character actions that give meaning to the quoted passage.
• Analyze and note how literary devices (e.g., metaphor, symbolism, foreshadowing) contribute to the thematic development in the quoted passages.
• Clearly state the connection between the selected evidence and your broader argument about the text.
• Acknowledge contradictory viewpoints and explain why your interpretation is more compelling or supported by the text.
• Group related pieces of evidence together based on thematic connections or arguments in your essay outline.

• Create a clear outline that outlines the main points and supporting evidence you will present in your essay. Organize your ideas logically to build a coherent argument.
• Create an outline and decide where each piece of evidence fits within your overarching argument. At this stage, you may need more supporting points.
• Use specific quotes, passages, or examples from the literary work(s) to support your interpretations and claims.
• After presenting evidence, analyze how it relates to your argument and thesis statement. Explain the significance of the evidence in the context of the broader themes or ideas you are discussing.

• Review the organization of your essay. Ensure each paragraph flows logically from one to the next, supporting your thesis statement.
• Confirm that each body paragraph begins with a clear topic sentence that relates directly to your thesis and sets the focus for the paragraph.
• Revisit your thesis statement. Ensure it presents your main argument and provides a roadmap for the reader to understand the scope of your analysis.
• Evaluate the textual evidence you've provided. Ensure each quote or example directly supports your points about the theme or argument.
• Throughout the essay, maintain a consistent focus on the chosen theme. Avoid tangential discussions that do not directly contribute to your central argument.
• Edit for grammar, punctuation, and sentence structure errors. Pay attention to spelling and word choice.
• Focuses on analyzing a specific passage, scene, or excerpt from a literary work in detail.
• Examines language, style, imagery, and literary devices to uncover deeper meanings and themes.
• Example: Analyzing the symbolism of the green light in F. Scott Fitzgerald's "The Great Gatsby" and its thematic significance.
• Analyze a specific character's development, motivations, and significance in a literary work.
• Explores how characters contribute to the overall themes and messages of the text.
• Example: Examining the character of Hamlet in William Shakespeare's "Hamlet" to understand his internal conflicts and role in the play's exploration of revenge and mortality.
• Focuses on exploring and interpreting a literary work's central themes or ideas.
• Examines how recurring themes contribute to the overall meaning and impact of the text.
• Example**: Analyzing the theme of isolation in Mary Shelley's "Frankenstein" and its implications for the characters' development and societal critique.
• Compares and contrasts two or more literary works, characters, themes, or authors.
• Highlights similarities and differences to deepen understanding of literary techniques, themes, or cultural contexts.
• Example: Comparing the depiction of women in Charlotte Bront's "Jane Eyre" and Jane Austen's "Pride and Prejudice" to explore differing perspectives on gender roles.
• Analyzes symbolic elements and figurative representations within a literary work.
• reveals hidden meanings and underlying messages conveyed through symbols, motifs, or symbolic narratives.
• Examines a literary work's historical, cultural, or social context.
• Investigate how historical or cultural factors influence the author's themes, characters, and narrative techniques.
• Focuses on analyzing a literary work's narrative techniques, structure, and form.
• Examines how narrative choices impact the reader's experience and contribute to thematic development.

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Making Literary Analysis Engaging With Student-Created Companion Books

Literary analysis is rarely students’ favorite task, but having them write for their peers can make it more engaging.

The literary analysis essay is rarely a favorite among English language arts (ELA) teachers and their students. Creativity, student choice, relevance, and authentic audience seem more difficult to incorporate into this traditional, though ubiquitous, genre. 

This challenge is partly because students’ analytical essays rarely have an audience or purpose beyond the English classroom. I’ve tackled this challenge by incorporating technology and student collaboration, inviting students to create guidebooks or companion books for literature.

Many teachers have developed and adapted the companion book strategy to suit their goals and needs, but the following approach is what I’ve found most successful. The activity has made literary analysis a favorite among my students.

Companion Book Basics

Companion books accompany and elaborate on already-published texts (books, series, movies, video games, or TV shows). They target an audience who has already read—and enjoyed—the text but want to know more about it or wish it never ended. 

Companion books aim to provide readers a deeper understanding of concepts in the original work. They give information and teach readers about ideas, concepts, or references they may have missed. Fans of many famous series ( Star Wars , Harry Potter , Marvel comics, etc.) have long made companion books, like the subgenre of “ fanfic ” that supplements these popular texts.

How to make it work

While students will likely balk at the task of writing an essay on the theme of The Outsiders , an assignment to collaborate with classmates and contribute a few chapters for a companion book to The Outsiders can almost sound fun, especially if students get to choose the focus of their own chapters (e.g., “Symbolism and Staying Gold” and “Foreshadowing Death”). I have my students draft a few potential tables of contents for their collaborative companion books and then divvy up the chapters based on who wants to write what. This way, I can still give them individual grades based only on their contributed chapters. 

It’s all the more enjoyable and meaningful if they are able to publish their work. I find Canva for Education is ideal, but I’ve also used Book Creator and other means of publication both digitally and in print. Our librarian supports our book-signing events in the school library, complete with barcoding and shelving students’ companion books—making them real, published authors who are searchable in our library database. I get to enjoy watching current students find and read the companion books of previous students on the library shelves.

Where to start

My favorite way to make this project a success is to have my students do this writing without even knowing it; by the time I present them with the task to write an entire companion book, the bulk of their writing is already done. 

I have them capture some written thoughts as they read a text (be it a whole-class novel, literature circle book, or independent choice book), but I never collect or grade this writing. I call it their “Deep Thoughts Notebook,” and I typically use Notice & Note signposts or other prompts that can work with any text to elicit deep thinking about reading—not just surface-level summaries. 

It’s downright fun when I task students with writing an entire book (cue tween outrage) and then tell them the good news that they’ve pretty much already written it. Each entry in their notebooks could easily become an interesting chapter in a companion book, and they’ve already quoted, cited, and elaborated on their unique thoughts about the text.

Infinite possibilities

Companion books are versatile and easily adaptable. The simplest way to incorporate collaborative companion books into the ELA classroom is with a whole-class novel. (My students have written companion books titled Inside The Outsiders , To Kill a Mockingbird: A Companion , and Everyone’s Monster: A Guide to A Monster Calls ).  

However, I do very few whole-class novel studies and have still used companion books to suit many ELA endeavors in lieu of the formal, traditional literary analysis essay. Companion books work with literature circles, short stories, author studies, and more. This year, I even had two seventh-grade ultra-fans of the Wings of Fire books write their own companion guide to this series, which they read independently throughout the year; they’d never been more motivated or productive readers and writers. 

What’s more, companion books don’t need to be collaborative. Individual students can work throughout the year on their book as a long-term project. 

Final tip for success

Be sure to clarify that the purpose of a companion book is not to simply summarize the original text. The content of companion books should look much more like a formal literary analysis than a book report. To engender the depth and quality of writing comparable to that of a literary analysis essay, provide examples of companion books, and have students determine how they are similar to and different from other forms of writing. 

Students should be able to readily observe that companion books do very little summarizing and instead function much like analysis—they cite and elaborate on direct quotes from the text that are highly relevant to the particular focus of the chapter, and they are bookended by a formal introduction and conclusion, to name just several features. 

I like to help students embrace the specific purpose and audience of companion books by explaining what I call the “ Easter egg effect.” I tell them: “Your readers don’t need you to tell them the basics of the text—they already know the main characters and setting and plot. But what did you notice, and think they probably missed? A true analysis reveals something through detailed examination. What’s your hot take? What Easter eggs will your writing reveal?” 

This framing focuses both their reading of the text and their writing about it.

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Analysis of the Solitary Reaper

1. introduction.

In his "The Solitary Reaper," a ballad that hails "the guardian goddess of the vale," Wordsworth may not be elevating the Scottish lass to a Polynesian peak, as Emma Williams believes, but he accomplishes more than has historically been attributed to this celebrated ballad. From the first, the quality of the verse is unmistakably high. Although praised as a microcosm of poetic art, analyzed primarily as a political poem, exalted by certain scholars as a remnant of an ethos, expressing what the majority of poet William Wordsworth: Analysis of the Solitary Reaper Readers MacCaig, Green, Taylor, and Wordsworth, among others, construe as important themes or messages, even the specific identity or role of the solitary reaper, the ballad has been remarkably neglected. Indeed, although the text is composed of pleasure and awe, "characteristic feelings of the Romantic movement in England," and is dense with themes and stylistic features of Wordsworth's literary creed of deep being in the world, as opposed to Wordsworth couldn't help but be himself in his writing by the implication of coincidental commonality. The task of analyzing the text, considered as such, is deserving of further careful attention.

1.1. Background of the Poem

Wordsworth’s poem ‘The Solitary Reaper’ is a poem for pandemic times. In the beautiful rolling hills of Scotland, a young woman works and sings; her song is meant to keep the coughing blackbirds away. The poet hears her song, but not understanding her words, he weaves his own around them, giving the girl his ‘splendid impression’ that will survive longer than she does. The poem is rich, showing the poet’s debt to the Romantics (in that we see things through the reflection they give the poet); his focus on the simplicity of rustics, rather than the complexities of people who work in the real world; his descent from Caliban, ready like Caliban to steal her music; as well as his ability to overpower her with language that is needlessly convoluted. Of course, Wordsworth’s poem must be underrated and undervalued in honor of the genius of his ‘I wandered lonely as a cloud’, don’t you think? I like to think of Wordsworth, keen marketeer of his own genius and impresario of his many public readings, doing a summoning dance to call back his audience. His need to create the false impression that he heard her song and it was enough to remind him of her until the end of his life speaks to his mercenary craving for a ghostly Persephone to be present, paying homage to him and ensuring his immortality. The poet Wally’s words would devolve to ‘This is the story of a stalker, droogies, let us sing him a song of extra potent rohipnol…’ while playing a favorite string piece.

2. Themes and Motifs

Themes Nature as a refuge The solitary reaper acts in the poem as a gentle substitute for the manifold characters the poet has encountered in the city of man. They burden the nature is innocent of the tribulations of the man-made world. The theme is required in order to contrast with the unhappiness of the city which inevitably troubles the poet. In the process, the theme serves to harmonize a generally comfortably joyous poem, praising the reflective virtues of solitude, with Wordsworth's preference for social pleasure in his period. The solitary note of marital affection is Wordsworth's only sure version of a sexually united singer. The more abstract quality of 'less than a god, more than a swine' which makes a man singly human is given to the riper mind of civilization by 'a chaste vocal elegance'. The words in combination allow the poet to bask in nature's easy virtue and link it with a world turned for meaning toward the sign. Nature as an authority The poem contains no explicit statement on the theme of nature as authority. The issue appears more as an absence in 'The Solitary Reaper'. Few things reflect more negatively upon mortal institutions than Wordsworth's opinion that the highest poetry is in the commonest life. If the proper focus of literature—in the opinion of the Prince of Poets—should be not the hero nor the institution nor the god but the simple man who is in all things like other men, to assert a principle binding rules upon mortal affairs is one of the least likely subjects which a poet of Wordsworth's stature might discover within his purview. A negative assertion, such as reappears periodically in nineteenth-century poetry of the remarkable authors, seems the more persuasive for its truths.

2.1. Nature and Solitude

Nature is the main theme in the poem "The Solitary Reaper". Throughout the poem, nature is the prevailing subject matter (most lines refer to a natural occurrence, subject or element). As with most romantic poets, Wordsworth also idealizes nature and ascribes it an almost mythical place in his, and all other people’s lives. However, one of the reasons romantic poets like to write about nature is precisely that it gives much scope for opening the heart, for tinkering with the role of emotion and imagination versus that played by reason and analysis. In a relatively complex and very sophisticated exercise of the latter, experienced readers could approach nature by the back door, most often opened by nature’s implications on solitude and the solitude of a natural environment, which would tend to bring out the best in romantic poetry, because it has the particular charm of true feeling and natural expression combined without useless powder. Mutual interaction between the reverberation of the solitary reaper’s song and nature leads Wordsworth to genuine bursts of emotion. Solitary reaper may be seen as a solitary agent triggering many of the feelings, satisfied both in their structure, and in their content, which readers have come to identify with Wordsworth’s poetry over the years. An examination of the poem’s six stanzas could explore how it might be built around what Wordsworth himself considered the poetic emotion's, i.e., the recollection of strong emotions (identification of the features of the emotions that are so ‘recalled’ being better left to the empathy of the reader-respondent). Such coalescent features are, I believe, best eulogized by a preparatory transparent style in which the poet empowers the reader to recollect the poem. The four first stanzas depict the state necessary for such kind of action: contemplation of the present act of the reaping song combined with the future recollection of it necessitates solitude.

3. Imagery and Symbolism

The poem is essentially a glimpse at the life of a Scottish peasant family that the poet actually saw returning from work in the fields. It is said that the poem was inspired by a Scottish girl who was harvesting and singing a sad Gaelic song one day on September 12, 1803, as Wordsworth and his sister passed her. Literary devices such as simile, imagery, personification, alliteration, and consonance are crucial to the richness of the poem. The poem was written after the period of the French Revolution or after 1807, when Scotland was coming into prominence in British literary society. The opening stanzas of "The Solitary Reaper" have smooth and natural rhythmic patterns that create a musical effect as the poet mimics the reaper's song. "The Solitary Reaper" is, in essence, an echo of her emotional plea. The primary source of the poem is nature. Various natural sounds provide sources of inspiration. The tender's daughter's song is worth more than any she regained after a hard working day on her half-forlorn way. Wild echo rings at every turn achieves "The Solitary Reaper", suggesting that she had grasped the attention of nature and that it repaid her with sounds of comparable beauty. "The Solitary Reaper" is the simplicity of William Wordsworth's literary works. The poet imagined this poem independently of enlightenment, and it is a translation from the silent symbols of nature. In "The Solitary Reaper", the poet puts forth direct interaction between the poet and the naturalist criterion, pointing out that the poem should be able to evoke some emotional pleasure from the scene or state depicted. The pattern of sound means that it should be discovered to carry a universal appeal. It is good to say that it has natural simplicity. It means that the chief attraction is nature or the beauty of simplicity conducive to identifying feelings with both the elements of nature. The poem has a variety of symbolic meanings and captures the feeling of the reaper's song.

3.1. Reaping and Song

In this light, reaping is not just a harvest, but a sign that symbolizes the passage of events or history. By 'reaping,' we are also led from one stage of life to another stage. That is the reason that the Victorian poet uses 'begone', emphasizing the gone, which creates a feeling of something past, in its reaping. In 'Sorrow dawning' the word 'dawning', like the word 'reaping', is full of significance. Here 'dawning' is associated with 'sorrow.' Sorrow is something bad. But here comes out a situation very significant. Wordsworth's repeated attempt is to portray a very common emotion like sorrow in a lovely light. Although on the surface the song of the highland lass may seem a song of woe to the poet, yet in fact, it is portrayed as lovely. It is represented as a natural song, grounded in an earthy delight. In this emotion lies the unspoken truth of the sorrow dawning out of reality. The sorrow pleases the poet's heart because the emotion is spiritual. It is pure sorrow which leads the poet to a pensive mood and makes him forget his own prose with the help of the sweet song of the solitary reaper. The song was so deep and so impressive that the poet felt as if the sound of her singing was floating by his mind, leaving a deep impact upon it. That is the beauty of that reaper's music.

4. Language and Structure

The key to understanding the poem is to treat it as a statement of a mood, as a song without an expressed grammatical subject. The unfamiliarity of the grammar sometimes makes it difficult to understand all the lines of the poem, and the other unfamiliar aspect of the poem is its 'Scottishness'. It captures the breath of the Highlands, and centuries before Kilgore Bruce said in exile: "Over all good English law, Pair Scotlan cast a rueful e'." The Highlands of Scotland are not known for their orchids or nightingales, and these lines suggest that the poet has accurately remembered the surroundings of the 'Highlands lass', without identifying her with them. "The Reaper's Song" (England) and "The Reaper's Song" (Scotland) should not be confused, though both cited the same scene, recall the description of an old classic reaper 'in the days of old'. The language and the structure of the poem express best what it always describes. "From my memory, I reproduced, simply as I could, the thoughts and feelings as near as I have been able to discern them, and in such language as lingered round this event. If the appearance or expression of the poem be beautiful or interesting, it is a sine qua non whence I derived impressions. It certainly was composed without many expressions in it, but being to sing, it was natural to make it rhyme. The irregularity of the rhymes was occasioned by the 'weariness' of the 'memory' and 'private purposes' of writing."

4.1. Rhyme Scheme and Meter

The poem "The Solitary Reaper" is broken into four eight-line stanzas. The stanzas are sixteen lines long in total. This poem's meter, then, should be octosyllabic couplets in ABABCCDD rhyme scheme. There may be some variation from this, but this is the basic pattern. The ten-syllable lines emphasize the slow, stop and start of the speaker's reflection on the song, while the rhyme scheme heavily draws attention to the final line of each stanza. Throughout the whole poem, a rhyme scheme of ABABCCDD is established. Cente emphasizes a major change of time, location and circumstance between the first half and second half. Obviously, the refrain always serves a function of emphasis. Here, a majority in English think the strains are melancholy, and in the last stanza, suggests that the speaker's heart desperately longs to express the same sweet music.

5. Conclusion

In conclusion, "The Solitary Reaper" is a poem that draws our attention towards nature. The poet is immersed in the beauty of nature when he listens to the song of the reaper. He then breaks away from this immersion and tries to analyze what the song itself is all about. His speculation takes the form of a number of possibilities which could account for the song. Finally, he comes to the conclusion that what is significant about the song is its song, and that to explore its meaning further may only be tantamount to diminishing the beauty. Thus, the only course for him is to allow the music to overwhelm him regardless of meaning. There is a sort of argument going on in the poem, with the speaker vacillating between two perspectives, just as poetry vacillates between offering profundity and beauty. The conclusion that meaning is knowledge, not understanding, comes permanently full circle to meaning in beauty. Thus, we see that 'fusion,' like in Arnaut, is the key word to describe poetry as a whole and this poem in particular.

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