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The Chimney Sweeper (SE)

2026-01-10T15:31:59Z

Glucas: Added analysis.

{{Poem|author=William Blake|date=1794}}
''William Blake’s “The Chimney Sweeper” indicts a society that cloaks child exploitation in religious consolation, exposing how church, state, and family collaborate to sanctify suffering while absolving themselves of responsibility.''
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A little black thing among the snow{{refn|The first line offers a strong and stark contrast between the ''black thing'' and the white ''snow''. The word ''thing'' dehumanizes the child sweeper, and ''black'' seems to associate him contamination—with something dirty and impure, perhaps morally, against the white purity of the snow. Perhaps, in some way, by cleaning the blackness from the churches’ chimneys, the sweeper has somehow taken on the sins of the church ({{harvnb|Wolfson|2003|p=81}}). Rather than a comment on race, this could be a comment on class and occupation ({{harvnb|Makdisi|2003|p=113}}). Or ''black'' aligns the sweep with Blake’s little black boy as a symbol of the fallen humanity, both confined and oppressed ({{harvnb|Frye|1947|p=212}}).<br />{{Sp}}Ackroyd writes: “They finished their work at noon, at which time they were turned upon the streets—all of them in rags (some of them, it seems, without any clothing at all), all of them unwashed, poor, hungry. It is really no wonder that they were typically classified with beggars and with vagrants, considered to be criminals” ({{harvnb|Ackroyd|1995|p=125}}).}}
Crying ’weep, ’weep, in notes of woe!{{refn|The child is lisping the sweeper’s “calling the streets,” which they did while banging their brushes and sweeping tools from before dawn to midday, of “Sweep! Sweep!” ({{harvnb|Greenblatt|2018|p=51}} and {{harvnb|Ackroyd|1995|pp=123–124}}).}}
Where are thy father & mother? say?
They are both gone up to the church to pray.{{refn|''Pray'' seems to suggest ''prey'' in light of the whole poem: in that the social and political realities of the day depend on the servitude of the sweepers. Instead of offering solace and the promise of a spiritual life, the church only supports the status quo. In praying for a fantasy life—the ''heaven'' in the last line—they are complicit and allow the abuse to continue.}}

Because I was happy upon the heath, {{ln|5}}
And smil’d among the winters snow;
They clothed me in the clothes of death,
And taught me to sing the notes of woe.

And because I am happy, & dance & sing,{{refn|The happiness here is of the sweeper’s own making, not in the narrative structures and ideologies supported by the authorities that oppress the sweeper. This might be read as a “a kind of resilience . . . to endure exploitation” and a defiance of the power that would continue to exploit the sweepers ({{harvnb|Makdisi|2015|p=86}}). Compare these expressions of happiness to the pastoral vision at the end of [[The Chimney Sweeper (SI)|the poem’s contrary]] in ''SI''.}}
They think they have done me no injury, {{ln|10}}
And are gone to praise God & his Priest & King,
Who make up a heaven of our misery.{{refn|Unlike the Angel in this poem’s contrary, the spiritual life here is nonexistent, hidden behind “hypocritical practices of a church that supports the social and political establishment while being indifferent to the sufferings of the weak and helpless” ({{harvnb|Tomlinson|1987|p=35}}). Only through the sweepers’ continued suffering, this last line seems to say, can others find their worldly heaven, one must assume.}}
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== Introduction & Context ==
William Blake’s “The Chimney Sweeper” from ''Songs of Experience'' (published in 1794) belongs to a paired collection deliberately designed to expose social contradiction. Blake wrote and engraved ''Songs of Innocence'' and ''Songs of Experience'' as companion volumes, presenting what he famously called the “two contrary states of the human soul.” The ''Experience'' poems revisit figures and situations from ''Innocence'' but strip away consolation and pastoral idealism. In the case of “The Chimney Sweeper,” Blake reworks an earlier poem on child labor to confront readers with the brutal realities of industrial England, where children were routinely sold into chimney sweeping, a profession that caused chronic illness, deformity, and early death.
[[File:Songs of Innocence and of Experience, copy Z, 1826 (Library of Congress) object 37 The Chimney Sweeper.jpg|thumb]]

Blake’s immediate influences were both social and intellectual. The poem emerges from the conditions of late eighteenth-century London, shaped by rapid urbanization, entrenched poverty, and the moral authority claimed by church and state. At the same time, Blake was deeply suspicious of institutional religion and Enlightenment rationalism when they served to justify inequality. His prophetic and visionary mode draws on the Bible, dissenting religious traditions, and radical political thought circulating in the wake of the American and French Revolutions. These influences converge in a poem that treats child suffering not as tragic accident but as systemic violence rationalized through piety.

Formally, “The Chimney Sweeper” is deceptively simple. Written in short, regular stanzas with a childlike voice, the poem mimics the nursery-rhyme rhythms associated with innocence, only to undermine them through bitter irony. The speaker’s calm acceptance of misery, and his parents’ retreat into church and prayer, produce a chilling contrast between tone and content. Blake’s language is spare and accessible, but its clarity sharpens rather than softens the poem’s critique.

The poem’s major themes include child exploitation, institutional hypocrisy, and the moral failure of a society that confuses obedience with virtue. Blake indicts parents who abandon their responsibilities, a church that preaches submission instead of justice, and a political order that benefits from cheap, expendable labor. God, king, and priest appear not as sources of salvation but as symbols used to discipline the poor into silence. In this sense, the poem insists that suffering persists not because it is inevitable, but because it is made acceptable.

As a Romantic poem, “The Chimney Sweeper” exemplifies several defining characteristics of the movement: a focus on marginalized voices, an emphasis on emotional truth over abstract moral systems, and a fierce critique of social institutions that repress human freedom. Blake’s Romanticism is not escapist or nostalgic; it is confrontational, using imagination as a tool of moral revelation rather than consolation.

The poem remains urgently relevant. Although the specific practice of chimney sweeping by children has vanished, the structures Blake exposes have not. Contemporary debates about child labor, economic precarity, environmental injustice, and the moral language used to excuse inequality echo Blake’s concerns. For modern readers, “The Chimney Sweeper” offers not only historical insight into Romantic-era England but also a framework for questioning how suffering is normalized, justified, and rendered invisible in any society that mistakes order for justice.

== An Example Analysis ==
A Marxist reading of Blake’s “The Chimney Sweeper” foregrounds the poem’s exposure of class exploitation and ideological control under early industrial capitalism. The child chimney sweeper represents labor reduced to its most expendable form: surplus human life pressed into service for the maintenance of private property. Chimneys exist to heat bourgeois homes, yet the suffering required to keep those homes warm is rendered invisible. From a Marxist perspective, the poem dramatizes how the working poor are alienated not only from the products of their labor, but from their own bodies, childhoods, and futures.

Central to this critique is ideology. The speaker’s parents attend church and believe they have “done no injury,” illustrating what Marx later calls ''false consciousness'': the internalization of ruling-class values that persuade workers to accept exploitation as moral necessity. Religion functions here as superstructure, offering spiritual consolation in place of material justice and discouraging resistance by framing suffering as virtuous or divinely sanctioned. Blake shows how ideology naturalizes economic relations, allowing systemic violence to persist without appearing violent.

Labor itself is stripped of dignity or autonomy. The child does not choose his work, benefit from it, or even fully comprehend the system that exploits him. His labor sustains a social order that excludes him from its rewards. In Marxist terms, the poem reveals a stark class division between those who own the means of comfort and those whose bodies make that comfort possible. Blake’s outrage is directed less at individual cruelty than at a structure that requires cruelty to function.

This critique aligns closely with William Wordsworth’s sonnet “[[The World Is too Much with Us]].” While Wordsworth focuses on alienation from nature under capitalism, Blake focuses on alienation from humanity itself. Both poems reject a society organized around accumulation and consumption. Wordsworth laments how people are “out of tune” with the natural world because of economic obsession, while Blake exposes the human cost of that obsession in the lives of the poor. Together, the poems offer complementary Marxist insights: one revealing spiritual and ecological alienation, the other revealing material and bodily exploitation.

For students, Blake’s poem demonstrates how Marxist literary analysis operates on historical texts by reading literature as a product of material conditions and class relations rather than timeless moral abstraction. “The Chimney Sweeper” does not simply evoke pity; it reveals how suffering is produced, justified, and maintained by an economic system that prioritizes profit, property, and order over human life.

== Writing Prompts ==
# Romantic writers often challenged the belief that social systems were rational or benevolent. Write about a time when your own “experience” replaced a more innocent belief about work, authority, religion, or fairness. How does that moment help you understand the speaker’s voice in Blake’s poem?
# Blake critiques institutions that claim moral authority while permitting suffering. Identify an institution in your own life or in contemporary society that publicly promotes virtue but depends on inequality or harm. How does this comparison clarify Blake’s Romantic suspicion of systems over individuals?
# For Blake, childhood represented moral clarity and vulnerability, not ignorance. Reflect on how your culture defines the “value” of young people today, especially in relation to work, productivity, or success. In what ways does this echo or diverge from the historical reality of child labor in Blake’s England?
# Romanticism elevated feeling as a form of truth. Write about a strong emotional reaction you had to this poem or to learning about chimney sweepers as historical figures. How does that emotional response produce insight that a purely factual account might not?
# Blake believed imagination could expose injustice and envision alternatives. Describe a moment when imagination, creativity, or art helped you recognize something as wrong or unjust. How does this experience align with Blake’s Romantic belief in the moral power of art?
# Blake presents experience as awareness gained through suffering rather than wisdom bestowed by authority. What kind of “experience” does modern society force people to acquire prematurely? Connect this idea to both the poem and your own observations or experiences.

==Notes & Commentary==
{{reflist}}

==Bibliography==
{{refbegin|indent=yes|30em}}
* {{cite book |last=Ackroyd |first=Peter |date={{date|1995}} |title=Blake: A Biography |url= |location=New York |publisher=Ballantine Books }}
* {{cite book |last=Battenhouse |first=Henry M. |date={{date|1958}} |title=English Romantic Writers |url= |location=New York |publisher=Barron’s Educational Series, Inc. }}
* {{cite book |last=Bloom |first=Harold |date={{date|2003}} |title=William Blake |series=Bloom’s Major Poets |url= |location=New York |publisher=Chelsea House }}
* {{cite book |last=Frye |first=Northrup |date={{date|1947}} |title=Fearful Symmetry: A Study of William Blake |url=https://archive.org/details/fearfulsymmetrys00frye |location=Princeton, NJ |publisher=Princeton University Press }}
* {{cite book |last=Gardner |first=Stanley |date={{date|1969}} |title=Blake |url= |location=New York |publisher=Arco |series=Literary Critiques }}
* {{cite book |last=Green |first=Martin Burgess |date={{date|1972}} |title=Cities of Light and Sons of Morning |url=https://archive.org/details/citiesoflightson00gree/ |location=Boston |publisher=Little, Brown }}
* {{cite book |editor-last=Greenblatt |editor-first=Stephen |date={{date|2018}} |title=The Norton Anthology of English Literature |series=The Major Authors |volume=2 |edition=Tenth |url=https://amzn.to/3rgnJOH |location=New York |publisher=W. W. Norton }}
* {{cite book |last=Makdisi |first=Saree |chapter=The Political Aesthetic of Blake’s Images |date={{date|2003}} |title=The Cambridge Companion to William Blake |url= |editor-last=Eaves |editor-first=Morris |location=Cambridge, UK |publisher=Cambridge UP |pages=110–132 }}
* {{cite book |last=Makdisi |first=Saree |author-mask=1 |date={{date|2015}} |title=Reading William Blake |url= |location=Cambridge, UK |publisher=Cambridge University Press }}
* {{cite magazine |last=Paulin |first=Tom |date={{date|2007-03-03|MDY}} |title=The Invisible Worm |url=https://www.theguardian.com/books/2007/mar/03/poetry.williamblake |magazine=Guardian |pages= |access-date={{date|2021-09-04|ISO}} }}
* {{cite book |last=Thompson |first=E. P. |date={{date|1993}} |title=Witness Against the Beast |url= |location=New York |publisher=The New Press }}
* {{cite book |last=Tomlinson |first=Alan |date={{date|1987}} |title=Song of Innocence and of Experience by William Blake |series=MacMillan Master Guides |url= |location=London |publisher=MacMillan Education }}
* {{cite book |last=Wolfson |first=Susan J. |chapter=Blake’s Language in Poetic Form |date={{date|2003}} |title=The Cambridge Companion to William Blake |url= |editor-last=Eaves |editor-first=Morris |location=Cambridge, UK |publisher=Cambridge UP |pages=63–83 }}
{{refend}}

==Links and Web Resources==
{{refbegin|30em}}
* Blake at the [https://tinyurl.com/255jf826 Internet Archive].
* [https://www.bl.uk/learning/timeline/item126746.html Blake’s Notebook] at the British Museum.
* [http://www.ajdrake.com/e252_fall_04/materials/authors/blake_sq.htm William Blake Study Questions]
{{refend}}

[[Category:Romanticism]]

The Chimney Sweeper (SE)

2026-01-10T14:49:39Z

Glucas: First save despite errors.

Template:Bib-Blake

2026-01-10T14:43:55Z

Glucas: Created page with "==Bibliography== {{refbegin|indent=yes|30em}} * {{cite book |last=Ackroyd |first=Peter |date={{date|1995}} |title=Blake: A Biography |url= |location=New York |publisher=Ballantine Books }} * {{cite book |last=Battenhouse |first=Henry M. |date={{date|1958}} |title=English Romantic Writers |url= |location=New York |publisher=Barron’s Educational Series, Inc. }} * {{cite book |last=Bloom |first=Harold |date={{date|2003}} |title=William Blake |series=Bloom’s Major Poet..."

==Bibliography==
{{refbegin|indent=yes|30em}}
* {{cite book |last=Ackroyd |first=Peter |date={{date|1995}} |title=Blake: A Biography |url= |location=New York |publisher=Ballantine Books }}
* {{cite book |last=Battenhouse |first=Henry M. |date={{date|1958}} |title=English Romantic Writers |url= |location=New York |publisher=Barron’s Educational Series, Inc. }}
* {{cite book |last=Bloom |first=Harold |date={{date|2003}} |title=William Blake |series=Bloom’s Major Poets |url= |location=New York |publisher=Chelsea House }}
* {{cite book |last=Frye |first=Northrup |date={{date|1947}} |title=Fearful Symmetry: A Study of William Blake |url=https://archive.org/details/fearfulsymmetrys00frye |location=Princeton, NJ |publisher=Princeton University Press }}
* {{cite book |last=Gardner |first=Stanley |date={{date|1969}} |title=Blake |url= |location=New York |publisher=Arco |series=Literary Critiques }}
* {{cite book |last=Green |first=Martin Burgess |date={{date|1972}} |title=Cities of Light and Sons of Morning |url=https://archive.org/details/citiesoflightson00gree/ |location=Boston |publisher=Little, Brown }}
* {{cite book |editor-last=Greenblatt |editor-first=Stephen |date={{date|2018}} |title=The Norton Anthology of English Literature |series=The Major Authors |volume=2 |edition=Tenth |url=https://amzn.to/3rgnJOH |location=New York |publisher=W. W. Norton }}
* {{cite book |last=Makdisi |first=Saree |chapter=The Political Aesthetic of Blake’s Images |date={{date|2003}} |title=The Cambridge Companion to William Blake |url= |editor-last=Eaves |editor-first=Morris |location=Cambridge, UK |publisher=Cambridge UP |pages=110–132 }}
* {{cite book |last=Makdisi |first=Saree |author-mask=1 |date={{date|2015}} |title=Reading William Blake |url= |location=Cambridge, UK |publisher=Cambridge University Press }}
* {{cite magazine |last=Paulin |first=Tom |date={{date|2007-03-03|MDY}} |title=The Invisible Worm |url=https://www.theguardian.com/books/2007/mar/03/poetry.williamblake |magazine=Guardian |pages= |access-date={{date|2021-09-04|ISO}} }}
* {{cite book |last=Thompson |first=E. P. |date={{date|1993}} |title=Witness Against the Beast |url= |location=New York |publisher=The New Press }}
* {{cite book |last=Tomlinson |first=Alan |date={{date|1987}} |title=Song of Innocence and of Experience by William Blake |series=MacMillan Master Guides |url= |location=London |publisher=MacMillan Education }}
* {{cite book |last=Wolfson |first=Susan J. |chapter=Blake’s Language in Poetic Form |date={{date|2003}} |title=The Cambridge Companion to William Blake |url= |editor-last=Eaves |editor-first=Morris |location=Cambridge, UK |publisher=Cambridge UP |pages=63–83 }}
{{refend}}

====Links and Web Resources====
{{refbegin|30em}}
* Blake at the [https://tinyurl.com/255jf826 Internet Archive].
* [https://www.bl.uk/learning/timeline/item126746.html Blake’s Notebook] at the British Museum.
* [http://www.ajdrake.com/e252_fall_04/materials/authors/blake_sq.htm William Blake Study Questions]
{{refend}}

Template:Start

2025-12-12T21:39:07Z

Glucas:

'''{{font|font=Alegreya Sans|{{{1|}}}}}'''<noinclude>{{documentation}}</noinclude>

Template:Start

2025-12-12T21:37:53Z

Glucas:

'''{{font|font=Alegreya Sans|size=110%|{{{1|}}}}}'''<noinclude>{{documentation}}</noinclude>

User:Glucas

2025-12-09T21:34:41Z

Glucas: Added updated links.

[[File:Gerald R. Lucas.jpg|thumb]]

{{Big|[[w:Professor|Professor]] of [[w:English Literature|English]] at [[w:Middle Georgia State University|Middle Georgia State University]], [[w:Digital Humanities|Digital Humanist]], Editor of [[pm:Main Page|Project Mailer]], [[w:Norman Mailer|Norman Mailer]] Fellow, [[w:Leica|Leica]] Photographer, [[w:Pizza|Pizza]] Enthusiast, [[w:BMW R 1200 GS|BMW R 1200 GS]] Rider}}

I teach technocultural studies, writing, digital humanities, literary studies, and the occasional seminar on Norman Mailer. My interests include [[w:speculative fiction|speculative fiction]], digital media, [[w:elearning|elearning]], [[Epic Poetry|epic poetry]], [[w:literary theory|literary theory]], and [[w:modernism|modernism]]. In my spare time, I make homemade pizza, discover new craft beers, and take photos. Find me at [https://grlucas.com/ my web site] and [[pm:Main Page|Project Mailer]].

== Links ==
* [https://audionotes.net/ Audio Notes]

The Waste Land

2025-11-19T15:16:30Z

Glucas: /* Introduction and Context */ Tweaked note.

{{Poem|author=T. S. Eliot|date=1922}}
''T. S. Eliot’s ''The Waste Land'' (1922) is a dense, fragmented modernist poem that captures the disillusionment and spiritual barrenness of post–World War I Europe. Blending myth, religion, and literary allusion, it seeks meaning amid cultural decay.''

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<poem>
Nam Sybillam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum pueri illi dicerent: Στβμλλ τί Θέλεις; respondebat illa: άπσΘνειν Θελω.{{refn|This epigraph is from [[w:Petronius|Petronius]]’ ''[[w:Satyricon|Satyricon]]''. [[w:Apollo|Apollo]] had granted the [[w:Sibyl|Sybil]] immortality, but she had forgotten to ask for perpetual youth, so she still aged. Literally: “I have seen with my own eyes the Sibyl hanging in a jar, and when the boys asked her ‘What do you want?’ She answered, ‘I want to die.{{' "}} Eliot’s note: The Sibyl’s words introduce one of the poem’s ambivalent concepts: (1) that life in the Waste Land is a living death; (2) that death may be made the means of rebirth.}}
::::::::::::::::For [[w:Ezra Pound|Ezra Pound]]<ref>Pound suggested cuts and edits to the first manuscript of the poem.</ref><br />
::::::::::::::::''il miglior fabbro''.<ref>“The better craftsman.” From [[w:Dante Alighieri|Dante]]’s ''[[w:Purgatorio|Purgatory]]'' (26.117)</ref>

I. The Burial of the Dead{{refn|From the Anglican burial ceremony.}}

April is the cruellest month, breeding{{refn|Compare to the beginning of [https://www.poetryfoundation.org/poems/43926/the-canterbury-tales-general-prologue ''The Canterbury Tales'': General Prologue]. Eliot’s opening reverses [[w:Geoffrey Chaucer|Chaucer]]’s joy in springtime. Several lines follow expressing resentment felt by the buried at being stirred into life again. This is followed by casual talk of tourists (it is summer now) in the Hofgarten. Again Chaucer is reversed, his pilgrims, devout or bawdy, had a definite goal, a shrine, while the secular tourist of Eliot wanders about sightseeing.}}
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering {{ln|5}}
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the [[w:Lake Starnberg|Starnbergersee]]
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the [[w:Hofgarten (Munich)|Hofgarten]], {{ln|10}}
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.{{refn|“I am not Russian at all; I come from Lithuania, I am a real German.”}}
And when we were children, staying at the archduke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie, {{ln|15}}
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.

What are the roots that clutch, what branches grow{{refn|This paragraph universalizes the terror with clutching roots and branches that grow from the “stony rubbish,” of fallen civilizations, and heightens it by allusion to the tribulations of [[w:Ezekiel|Ezekiel]], whom God addresses as “Son of man.” We are now in the midst of the true desert, with its “heap of broken images,” where “the dead tree gives no shelter.” The dead tree suggests, amoung other recollections, the ''arbre sec'' (dried tree) of medieval legend, i.e., the withered stump of fallen humanity, the sons of [[w:Adam|Adam]]. We are invited to “Come in under the shadow of this red rock,” where we will be shown “fear in a handful of dust”; the end of every man is the grave.}}
Out of this stony rubbish? Son of man,{{refn|Cf. [[w:Book of Ezekiel|Ezekiel]] 2:7 [E]: “Son of man, stand upon thy feet, and I will speak unto thee.”}} {{ln|20}}
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,{{refn|Cf. [[w:Ecclesiastes|Ecclesiastes]] 12:5 [E]: “Also when they shall be afraid of that which is high, and fears shall be in the way . . . the grasshopper shall he a burden, and desire shall fail.”}}
And the dry stone no sound of water. Only
There is shadow under this red rock, {{ln|25}}
(Come in under the shadow of this red rock),{{refn|Cf. [[w:Book of Isaiah|Isaiah]] 32:2, where it is said that at Christ’s coming “a man shall be . . . as rivers of water in a dry place, as the shadow of a great rock in a weary land.” In the Grail story as told by [[w:Wolfram von Eschenbach|Wolfram von Eschenbach]] (''Parzifal'', ix 627 ff.), the Grail is said to be a stone, and those who are called to its quest are said to be called as children and to grow up under its shadow. (“As children the Grail doth call them, ’neath its shadow, they wax and grow.”)}}
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.{{refn|Cf. [[w:Book of Genesis|Genesis]] 2:7: “And the Lord God formed man of the dust of the ground.” And Genesis 3:19: “dust thou art, and unto dust shalt thou return.”}} {{ln|30}}
:::::''Frisch weht der Wind''
:::::''Der Heimat zu,''
:::::''Mein Irisch Kind,''
:::::''Wo weilest du?''{{refn|“The wind blows fresh / To the Homeland / My Irish Girl / Where are you lingering?” V. ''[[w:Tristan und Isolde|Tristan und Isolde]]'', I, verses 5-8. [E] The verses are sung by a sailor on the ship bringing the Irish Isolde to Cornwall.}}
“You gave me hyacinths first a year ago; {{ln|35}}
They called me the hyacinth girl.”
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing, {{ln|40}}
Looking into the heart of light,{{refn|'''the light''': cf. [[w:Dante Alighieri|Dante]]’s phrase from ''[[w:Divine Comedy#Paradiso|Paradiso]]'', xii 28: “''del cor dell’ una luci nuove''” (from the heart of one of the new lights).}} the silence.{{refn|[[w:Hyacinth (mythology)|Hyacinth]], loved by Apollo, was accidentally slain by the god, who then caused the flower bearing the youth’s name to grow from his blood. The hyacinth girl herself is forgotten by her lover—distracted by a vision of light. This is a reversal of Dante’s experience, who saw all of Paradise in [[w:Beatrice Portinari|Beatice]]’s eyes.}}
''Öd’ und leer das Meer''.{{refn|''Tristan und Isolde'', III, verse 24 [E]: “Desolate and empty sea.” The dying Tristan hears this erroneous report as he waits for Isolde’s ship in the third act of [[w:Richard Wagner|Wagner]]’s opera. The anguish of fractured love is added to the canvas. Tristan dies thinking Isolde will not come to him (though she is on her way).}}

Madame Sosostris,{{refn|The name suggests an Egyptian fortuneteller that Eliot borrowed from [[w:Aldous Huxley|Aldous Huxley]]’s novel ''[[w:Crome Yellow|Crome Yellow]]''.}} famous clairvoyante,{{refn|Fear engendered by ignorance of the future comes next at a seance run by Madame Sosostris. She is both a debased form of the ancient Sibyl and a reflection of the diviners of Egypt (the name is masculine) who predicted the floods of the Nile by use of the Tarot. She reads the cards for her client, beginning with his own, “The drowned Phoenician Sailor,” the symbol of a fertility god annually thrown into the sea at the death of summer.}}
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe, {{ln|45}}
With a wicked pack of cards.{{refn|I am not familiar with the exact constitution of the [[w:Tarot|Tarot]] pack of cards, from which I have obviously departed to suit my own convenience. [[w:The Hanged Man (Tarot card)|The Hanged Man]], a member of the traditional pack, fits my purpose in two ways: because he is associated in my mind with the Hanged God of [[w:James George Frazer|Frazer]], and because I associate him with the hooded figure in the passage of the disciples to [[w:Emmaus|Emmaus]] in Part V. The Phoenician Sailor and the Merchant appear later; also the “crowds of people,” and Death by Water is executed in [[The Waste Land/4|Part IV]]. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the [[w:Fisher King|Fisher King]] himself. [E] The Tarot pack of cards seems to have played a significant part in the ancient fertility rituals. Here it has degenerated into a fortune-teller’s property.}} Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes.{{refn|'''Those . . . eyes''': From Ariel’s song to Prince Ferdinand in ''[[w:The Tempest|The Tempest]]'' (I.ii.398), touching on the “sea change” of King Alonzo, Ferdinand’s father, whom Ferdinand supposes to be drowned.}} Look!)
Here is Belladonna, the Lady of the Rocks,{{refn|With ironic reminder of the Madonna, of whom there is a painting by [[w:Leonardo da Vinci|Leonardo da Vinci]] entitled “[[w:Virgin of the Rocks|Madonna of the Rocks]].”}}
The lady of situations. {{ln|50}}
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man.{{refn|She does not see the Hanged Man (suggesting the hanged Jesus of Nazareth, who appears as the hooded figure in part V).}} Fear death by water.{{refn|I.e., fear death of the old Adam by baptism into the life of the new Adam, Christ, could be one of several meanings.}}{{ln|55}}
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.

Unreal City,{{refn|Cf. [[w:Charles Baudelaire|Baudelaire]]: Fourmillante cité, cité pleine de rêves, / Où le spectre en plein jour raccroche le passant. [E] “Swarming city, city full of dreams / Where the specter in broad daylight accosts the passerby.” Baudelaire, ''The Seven Old Men''.}}{{refn|Here is a nightmare vision of the “Unreal City,” with its slaves of a secular [[w:Mammon|Mammon]] flowing over London Bridge on their way to work. Warfare in commerce and war on the battlefield are but two aspects of one activity, as [[w:Virgil|Virgil]] and his commentators knew. The average businessman, here called Stetson, is one in the same with the average warrior in the commercial rivalry between Rome end Carthage at the battle of Mylae. By the end of part I, Stetson is identified with the poet and with the reader—with all of us for we all bear the mark of [[w:Curse and mark of Cain|Cain]].}}{{ln|60}}
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.{{refn|Cf. Dante’s ''[[w:Inferno (Dante)|Inferno]]'', iii. 55-7: si lunga tratta / di gente, ch’io non avrei mai creduto / che morte tanta n’avesse disfatta. [E] “So long a train of people, that I should never have believed death had undone so many.”}}
Sighs, short and infrequent, were exhaled,{{refn|Cf. 63. Cf. Dante’s ''Inferno'', iv. 25-27: Quivi, secondo che per ascoltare, / non avea pianto, ma' che di sospiri, / che l'aura eterna facevan tremare. [E] “Here there was no plaint, that could be heard, except of sighs, which caused the eternal air to tremble.”}}
And each man fixed his eyes before his feet. {{ln|65}}
Flowed up the hill and down King William Street,{{refn|[[w:King William Street, London|King William Street]] is one of London’s most thronged with commuting office workers at the morning rush hour.}}
To where [[w:St Mary Woolnoth|Saint Mary Woolnoth]] kept the hours
With a dead sound on the final stroke of nine.{{refn|A phenomenon which I have often noticed. [E]}}{{refn|Nine is the hour when the business crowd must be at work. But cf. also, [[w:Gospel of Matthew|Matthew]] 27:45-6: “Now from the sixth hour there was darkness over all the land unto the ninth hour. And about the ninth hour Jesus cried out with a loud voice, saying . . . ‘My God, my God, why hast thou forsaken me?{{' "}} }}
There I saw one I knew, and stopped him, crying “Stetson!{{refn|So Dante in the ''Inferno'' sees and stops friends. Stetson is simply a typical businessman’s name.}}
You who were with me in the ships at [[w:Battle of Mylae|Mylae]]!{{refn|The Battle of Mylae took place in 260 BC during the First Punic War—a “business” war—and was the first real naval battle between Carthage and the Roman Republic.}} {{ln|70}}
That corpse you planted last year in your garden,{{refn|Cf. [[w:Epistle to the Romans|Romans]] 6:3-5: “Know ye not that so many of us as were baptized into Jesus Christ were baptized into his death? Therefore we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we should walk in newness of life. For if we have been planted together in the likeness of his death, we shall be also in the likeness of his resurrection.” See the whole chapter.}}
Has it begun to sprout? Will it bloom this year?
Or has the sudden frost disturbed its bed?
Oh keep the Dog{{refn|Cf. [[w:Psalm 22|Psalm 22]]:20: “Deliver my soul from the sword; my darling from the power of the dog.” Also, Eliot’s lines in ''[[w:T. S. Eliot's Ariel poems|Marina]]'': “Those who sharpen the tooth of the dog, meaning Death.”}} far hence, that’s friend to men,
Or with his nails he’ll dig it up again!{{refn|Cf. the Dirge in [[w:John Webster|Webster]]’s ''[[w:The White Devil|The White Devil]]''. [E]—sung by a mad woman to her son over the corpse of his brother whom he has killed.}} {{ln|75}}
You! ''hypocrite lecteur!—mon semblable,—mon frère!”{{refn|V. Baudelaire, Preface to ''[[w:Les Fleurs du mal|Les Fleurs du Mal]]''. [E] “Hypocrite reader!—my double—my brother!” Where the “menagerie” of men’s vices concluded with “Boredom.”}}

II. A Game of Chess{{refn|A reference to [[w:Thomas Middleton|Thomas Middleton]]’s 1624 play ''[[w:A Game at Chess|A Game at Chess]]''.}}

The Chair she sat in, like a burnished throne,{{refn|Cf. ''Antony and Cleopatra'', II.ii.190. [E]: “The barge she sat in, like a burnished throne, / Burned on the water.”}}
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out {{ln|80}}
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion; {{ln|85}}
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended {{ln|90}}
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,{{refn|Laquearia. V. ''Aeneid'', I. 726: dependent lychni laquearibus aureis incensi, et noctem flammis funalia vincunt. [E] “Blazing torches hang from the gold-panelled ceiling (laquearibus aureis), and torches conquer the night with flames.” In this scene, Dido throws a banquet for her future lover, Aeneas. Like Antony and Cleopatra’s affair, Aeneas and Dido’s also ends in tragedy.}}
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone, {{ln|95}}
In which sad light a carvèd dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene{{refn|V. Milton, ''Paradise Lost'', iv. 140 [E]. Milton describes Satan’s first glimpse of Eden.}}
The change of Philomel,{{refn|V. Ovid, ''Metamorphoses'', vi, Philomela [E]. Philomela was raped by King Tereus who cut out her tongue so she could not tell her sister.}} by the barbarous king
So rudely forced; yet there the nightingale{{refn|Cf. Part III, l. 204 [E].}} {{ln|100}}
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
“Jug Jug”{{refn|The nightingale’s song.}} to dirty ears.
And other withered stumps of time
Were told upon the walls; staring forms {{ln|105}}
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair,
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still. {{ln|110}}

“My nerves are bad to-night. Yes, bad. Stay with me.
Speak to me. Why do you never speak? Speak.
:What are you thinking of? What thinking? What?
I never know what you are thinking. Think.”

I think we are in rats’ alley{{refn|Cf. Part III, l. 195 [E].}} {{ln|115}}
Where the dead men lost their bones.

“What is that noise?”
:::::The wind under the door.{{refn|Cf. Webster: “Is the wind in that door still?” [E]}}
“What is that noise now? What is the wind doing?”
{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}Nothing again nothing. {{ln|120}}
:::::::::::::::“Do
You know nothing? Do you see nothing? Do you remember
Nothing?”

:I remember
Those are pearls that were his eyes.{{refn|Cf. Part I, l. 48.}} {{ln|125}}
“Are you alive, or not? Is there nothing in your head?”
:::::::::::::::But
O O O O that Shakespeherian Rag—
It’s so elegant
So intelligent {{ln|130}}
“What shall I do now? What shall I do?”
“I shall rush out as I am, and walk the street
With my hair down, so. What shall we do to-morrow?
What shall we ever do?”
{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}The hot water at ten. {{ln|130}}
And if it rains, a closed car at four.
And we shall play a game of chess,{{refn|Cf. the game of chess in Middleton’s ''Women beware Women''. [E]}}
Pressing lidless eyes and waiting for a knock upon the door.

When Lil’s husband got demobbed,{{refn|Demobilized, i.e., discharged from the army.}} I said,
I didn’t mince my words, I said to her myself, {{ln|140}}
{{font|font=Alegreya SC|Hurry up please its time}}{{refn|The bartender’s warning that the pub is about to close. Perhaps a suggestion to take action to save their souls. Or it could be an inhumane disregard for Lil’s plight, a comment on the soullessness of capitalism.}}
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set, {{ln|145}}
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said. {{ln|150}}
Then I’ll know who to thank, she said, and give me a straight look.
{{font|font=Alegreya SC|Hurry up please its time}}
If you don’t like it you can get on with it, I said,
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling. {{ln|155}}
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.) {{ln|160}}
The chemist{{refn|The pharmacist. Think: morning-after pill.}}said it would be alright, but I’ve never been the same.
You ''are'' a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
{{font|font=Alegreya SC|Hurry up please its time}} {{ln|165}}
Well, that Sunday Albert was home, they had a hot gammon,{{refn|Ham.}}
And they asked me in to dinner, to get the beauty of it hot—
{{font|font=Alegreya SC|Hurry up please its time}}
{{font|font=Alegreya SC|Hurry up please its time}}
Goonight Bill. Goonight Lou. Goonight May. Goonight. {{ln|170}}
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.{{refn|An echo of Ophelia’s last words in ''Hamlet'' before she drowns herself.}}

III. The Fire Sermon<ref>In his [[w:Ādittapariyāya Sutta|fire sermon]], the Buddha denounces the lusts and passions for earthly experience. Follow the link next to read the whole sermon. In this section, Eliot shows these passions further deteriorating into sterility.</ref>

The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed. {{ln|175}}
Sweet Thames, run softly, till I end my song.<ref>V. Spenser, ''Prothalamion''. [E]</ref>
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.<ref>Cf. Day, ''Parliament of Bees'':
“When of the sudden, listening, you shall hear, / A noise of horns and hunting, which shall bring / Actaeon to Diana in the spring, / Where all shall see her naked skin . . .”</ref>
And their friends, the loitering heirs of city directors; {{ln|180}}
Departed, have left no addresses.
By the waters of Leman<ref>Lake Geneva (where Eliot wrote much of ''The Waste Land''). A leman is a mistress or lover.</ref> I sat down and wept. . .<ref>In Psalm 137:1, the exiled Hebrews sit by the rivers of Babylon and weep for their lost homeland.</ref>
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear<ref>An echo of Andrew Marvell’s “To His Coy Mistress”: “But at my back I always hear / Time’s winged chariot hurrying near.”</ref> {{ln|185}}
The rattle of the bones, and chuckle spread from ear to ear.

A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse. {{ln|190}}
Musing upon the king my brother’s wreck
And on the king my father’s death before him.<ref>Cf. The Tempest, I.ii. [E]</ref>
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year. {{ln|195}}
But at my back from time to time I hear
The sound of horns and motors, which shall bring<ref>Cf. Day, ''Parliament of Bees'': “When of the sudden, listening, you shall hear, / A noise of horns and hunting, which shall bring / Actaeon to Diana in the spring, / Where all shall see her naked skin...” [E]</ref>
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter<ref>I do not know the origin of the ballad from which these lines are taken: it was reported to me from Sydney, Australia. [E]</ref>
And on her daughter {{ln|200}}
They wash their feet in soda water
''Et, O ces voix d’enfants, chantant dans la couple!''<ref>And oh, the sound of children, singing in the cupola! - V. Verlaine, ''Parsifal'' [E].</ref>

Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d. {{ln|205}}
Tereu<ref>Cf. Ovid ''Metamorphosis'' (Book VI, 519–562) where Tereus rapes Philomela and then cuts out her tongue for defying him.</ref>

Unreal City
Under the brown fog of a winter noon
Mr Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants {{ln|210}}
C. i. f. London: documents at sight,{{refn|The currants were quoted at a price “carriage and insurance free to London”; and the Bill of Lading, etc. were to be handed to the buyer upon payment of the sight draft. [E]}}
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a week-end at the Metropole.

At the violet hour, when the eyes and back {{ln|215}}
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias,{{refn|Tiresias, although a mere spectator and not indeed a “character,” is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest: [E] He then goes on to quote a passage from Ovid wherein Tiresias spent part of his life as a woman and was able, therefore, to experience sex both as a man and a woman.}} though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives {{ln|220}}
Homeward, and brings the sailor home from sea,{{refn|This may not appear as exact as Sappho’s lines, but I had in mind the ’longshore’ or ’dory’ fisherman, who returns at nightfall. [E]}}
The typist home at tea-time, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays, {{ln|225}}
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest. {{ln|230}}
He, the young man carbuncular, arrives,
A small house-agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford{{refn|A manufacturing town in Yorkshire that prospered because of World War 1.}} millionaire.
The time is now propitious, as he guesses, {{ln|235}}
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence; {{ln|240}}
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes{{refn|Tiresias appears in Sophocles’ ''Oedipus Rex'' and made prophecies around Thebes before dying.}} below the wall {{ln|245}}
And walked among the lowest of the dead.)
Bestows one final patronizing kiss,
And gropes his way, finding the stairs unlit. . .

She turns and looks a moment in the glass,
Hardly aware of her departed lover; {{ln|250}}
Her brain allows one half-formed thought to pass:
“Well now that’s done: and I’m glad it’s over.”
When lovely woman stoops to folly{{refn|V. Goldsmith, the song in ''The Vicar of Wakefield''. [E]}} and
Paces about her room again, alone,
She smoothes her hair with automatic hand, {{ln|255}}
And puts a record on the gramophone.

“This music crept by me upon the waters”{{refn|V. ''The Tempest'', as above. (Eliot’s note referring to l. 191)}}
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street, {{ln|260}}
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr{{refn|The interior of St. Magnus Martyr is to my mind one of the finest among Wren’s interiors. See ''The Proposed Demolition of Nineteen City Churches'' (P. S. King & Son, Ltd.). [E]}} hold
Inexplicable splendour of Ionian white and gold. {{ln|265}}

::The river sweats{{refn|The Song of the (three) Thames-daughters begins here. From line 292 to 306 inclusive they speak in turn. V. ''Götterdammerung'', III. i: The Rhine-daughters. [E]}}
::Oil and tar
::The barges drift
::With the turning tide
{{sp}}{{sp}}Red sails {{ln|270}}
::Wide
::To leeward, swing on the heavy spar.
::The barges wash
::Drifting logs
{{sp}}{{sp}}Down Greenwich reach {{ln|275}}
::Past the Isle of Dogs.{{refn|East of London, the Isle of Dogs is a peninsula on the north bank of the Thames across from Greenwich.}}
:::::::Weialala leia
:::::::Wallala leialala

::Elizabeth and Leicester{{refn|V. Froude, ''Elizabeth'', vol. I, ch. iv, letter of De Quadra to Philip of Spain: In the afternoon we were in a barge, watching the games on the river. (The queen) was alone with Lord Robert and myself on the poop, when they began to talk nonsense, and went so far that Lord Robert at last said, as I was on the spot there was no reason why they should not be married if the queen pleased. [E]}}
{{sp}}{{sp}}Beating oars {{ln|280}}
::The stern was formed
::A gilded shell
::Red and gold
::The brisk swell
{{sp}}{{sp}}Rippled both shores {{ln|285}}
::South-west wind
::Carried down stream
::The peal of bells
::White towers
{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}Weialala leia {{ln|290}}
:::::::Wallala leialala

“Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.” {{ln|295}}

“My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised ‘a new start.’
I made no comment. What should I resent?”

“On Margate Sands. {{ln|300}}
I can connect
Nothing with nothing.
The broken finger-nails of dirty hands.
My people humble people who expect
Nothing.” {{ln|305}}

:::::::la la

To Carthage then I came

Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest {{ln|310}}

burning

IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep seas swell
And the profit and loss.
{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}{{sp}}A current under sea {{ln|315}}
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
:::::::::::Gentile or Jew
O you who turn the wheel and look to windward, {{ln|320}}
Consider Phlebas, who was once handsome and tall as you.

V. What the Thunder Said{{refn|In the first part of Part V three themes are employed: the journey to Emmaus, the approach to the Chapel Perilous (see Miss Weston’s book) and the present decay of eastern Europe. Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: ''From Ritual to Romance'' (Macmillan). Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble. To another work of anthropology I am indebted in general, one which has influenced our generation profoundly; I mean ''The Golden Bough''; I have used especially the two volumes ''Attis Adonis Osiris''. Anyone who is acquainted with these works will immediately recognise in the poem certain references to vegetation ceremonies. [E] }}

After the torch-light red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying {{ln|325}}
Prison and place and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience {{ln|330}}

Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink {{ln|335}}
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit {{ln|340}}
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mud-cracked houses {{ln|345}}
:::::::::::::If there were water
:And no rock
:If there were rock
:And also water
{{sp}}And water {{ln|350}}
:A spring
:A pool among the rock
:If there were the sound of water only
:Not the cicada
{{sp}}And dry grass singing {{ln|355}}
:But sound of water over a rock
:Where the hermit-thrush{{refn|This is ''Turdus aonalaschkae pallasii'', the hermit-thrush which I have heard in Quebec Province. Chapman says (''Handbook of Birds of Eastern North America'') “it is most at home in secluded woodland and thickety retreats. . . . Its notes are not remarkable for variety or volume, but in purity and sweetness of tone and exquisite modulation they are unequaled.” Its “water-dripping song” is justly celebrated. [E]}} sings in the pine trees
:Drip drop drip drop drop drop drop
:But there is no water

Who is the third who walks always beside you?{{refn|The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton's): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was ''one more member'' than could actually be counted. [E]}} {{ln|360}}
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman {{ln|365}}
—But who is that on the other side of you?

What is that sound high in the air{{refn|367–77 Cf. Hermann Hesse, ''Blick ins Chaos'': “Schon ist halb Europa, schon ist zumindest der halbe Osten Europas auf dem Wege zum Chaos, fährt betrunken im heiligem Wahn am Abgrund entlang und singt dazu, singt betrunken und hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder lacht der Biirger beleidigt, der Heilige und Seher hört sie mit Tranen.” [E] ''A Glimpse into Chaos'': “Already half of Europe, already at least the eastern half of Europe is on the way to chaos, driving drunk on holy delusion along the edge of an abyss and singing to it, drunk songs and hymnals like Dmitri Karamazov sang. Over these songs the commoner laughs scornfully, the saint and seer listens with tears on her cheeks.”}}
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth {{ln|370}}
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria {{ln|375}}
Vienna London
Unreal

A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light {{ln|380}}
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells. {{ln|385}}

In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home.
It has no windows, and the door swings, {{ln|390}}
Dry bones can harm no one.
Only a cock stood on the roof-tree
Co co rico co co rico{{refn|The rooster’s crowing portends morning and perhaps the promise of renewal in a new day.}}
In a flash of lightning. Then a damp gust
Bringing rain {{ln|395}}

{{H:title|The Ganges in India and Bangladesh is a 1,569 mile river sacred to Hinduism.|Ganga}} was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder {{ln|400}}
{{font|font=Alegreya SC|Da}}
''Datta'': what have we given?{{refn|“Datta, dayadhvam, damyata” (Give, sympathise, control). The fable of the meaning of the Thunder is found in the ''Brihadaranyaka-Upanishad'', 5, I. A translation is found in Deussen’s ''Sechzig Upanishads des Veda'', p. 489. [E]}}
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract {{ln|405}}
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider{{refn|Cf. Webster, ''The White Devil'', V, vi: “. . . they’ll remarry / Ere the worm pierce your winding-sheet, ere the spider / Make a thin curtain for your epitaphs.” [E]}}
Or under seals broken by the lean solicitor
In our empty rooms {{ln|410}}
{{font|font=Alegreya SC|Da}}
''Dayadhvam'': I have heard the key{{refn|Cf. ''Inferno'', XXXIII, 46: “ed io sentii chiavar l’uscio di sotto / all’orrible torre.” (“Below I heard them nailing up the door / Of the horrible tower”). Also F. H. Bradley, ''Appearance and Reality'', p. 346. “My external sensations are no less private to myself than are my thoughts or my feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it. . . . In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul.” [E]}}
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison {{ln|415}}
Only at nightfall, aetherial rumours
Revive for a moment a broken Coriolanus
{{font|font=Alegreya SC|Da}}
''Damyata'': The boat responded
Gaily, to the hand expert with sail and oar {{ln|420}}
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands

:::::::::::::I sat upon the shore
Fishing,{{refn|V. Weston: ''From Ritual to Romance''; chapter on the Fisher King. [E]}} with the arid plain behind me {{ln|425}}
Shall I at least set my lands in order?{{refn|The only thing it seems an individual may do faced with the destruction of Western Civilization following World War I. This question is not only asked by the narrator about himself, but also resonates with the reader as a call to personal responsibility in finding meaning and order within one’s self. Renewal begins with the individual.}}

London Bridge is falling down falling down falling down

''Poi s’ascose nel foco che gli affina''{{refn|V. ''Purgatorio'', XXVI, 148. {{" '}}Now I petition you, by that kind Power / Escorting you to the summit of the staircase, / At the appropriate time, recall my pain.’ / Then he hid himself in the refining fire.” [E]}}
''Quando fiam ceu chelidon''—O swallow swallow{{refn|V. Pervigilium Veneris. Cf. ''Philomela'' in Parts II and III. [E]}}
''Le Prince d’Aquitaine à la tour abolie''{{refn|V. Gerard de Nerval, ''Sonnet El Desdichado''. [E]}} {{ln|430}}
These fragments I have {{H:title|To give support to.|shored}} against my ruins{{refn|In other words: these “fragments” support the narrator against the total devastation. This idea seems to be at the heart of Eliot’s “[[July 19, 2004|mythic method]].”}}
Why then Ile fit you. Hieronymo’s mad againe.{{refn|V. Kyd's ''Spanish Tragedy''.}}
Datta. Dayadhvam. Damyata.

Shantih{{sp}}shantih{{sp}}shantih{{refn|Shantih. Repeated as here, a formal ending to an ''Upanishad''. “The Peace which passeth understanding” is our equivalent to this word. [E]}}

</poem>
|-
| style="text-align:right;" | —'''[[w:T. S. Eliot|T. S. Eliot]]''' (1922)
|}</div>
{{FH}}

== Introduction and Context ==
T. S. Eliot’s ''The Waste Land'' is often regarded as the defining poem of high modernism. Published in 1922—the same year as Joyce’s ''Ulysses''—it reflects a moment of deep cultural crisis following the First World War. Eliot’s poem presents Western civilization as a desolate landscape, spiritually sterile and fragmented by the loss of traditional structures of faith, morality, and meaning.

Drawing from a vast network of sources—classical mythology, the Bible, Buddhism, Dante, Shakespeare, the Upanishads, and popular culture—Eliot crafts a polyphonic collage of voices and references that mirror the fractured consciousness of modern life. ''The Waste Land'' was edited heavily by [[w:Ezra Pound|Ezra Pound]] (to whom the poem is dedicated as ''il miglior fabbro'', “the better craftsman”), and it incorporates the anthropological ideas of Jessie Weston’s ''From Ritual to Romance'' and James Frazer’s ''The Golden Bough'', both of which link death and rebirth in mythic ritual to the possibility of renewal.

Eliot’s notes (indicated by the '''[E]'''), sometimes clarifying and sometimes deliberately misleading, reinforce the modernist tension between meaning and obscurity. The poem’s structure—five sections moving from desolation toward the faint hope of spiritual renewal—can be read as an allegory of civilization’s fall and possible redemption. Yet its central message remains ambiguous: whether rebirth is achievable or only longed for in vain.

===Eliot's Introduction ===
Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss [[w:Jessie Weston|Jessie L. Weston]]’s book on the Grail legend: ''[[w:From Ritual to Romance|From Ritual to Romance]]'' (Cambridge). Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble. To another work of anthropology I am indebted in general, one which has influenced our generation profoundly; I mean ''[[w:The Golden Bough|The Golden Bough]]''; I have used especially the two volumes ''Adonis, Attis, Osiris''. Anyone who is acquainted with these works will immediately recognise in the poem certain references to vegetation ceremonies.{{refn|In the original [[w:Holy Grail|Grail legend]] a wounded king called the [[w:Fisher King|Fisher King]] rules over a land called the Waste Land, doomed to remain waste, until a knight of surpassing purity comes to heal the king’s wound, which is in the sexual organs. This story became associated in the Middle Ages with [[w:Matter of Britain|Arthurian stories]] and particularly with the story of the Holy Grail, the vessel supposed to have been used by Christ at the Last Supper. Through the efficacy of this vessel, the Fisher King is healed by one of Arthur’s knights, usually [[w:Percival|Sir Perceval]], and the land’s fertility is restored. But before he can execute this mission, the knight has had to suffer terrifying trials and temptations in the Waste Land (as in Eliot’s poem, section V), which culminate in the ordeal of the Chapel Perilous. Miss Weston argues that the roots of this story are to be found in the rites by which primitive men invoked spring and new fertility after the apparent death of winter.<br />{{Sp}}Aside from [[w:Allen Ginsberg|Ginsberg]]’s ''[[w:Howl|Howl]]'', this is probably the most influential poem in English of the twentieth century, partly because it utilizes a universal myth, partly because it chronicles, and transcends, the ugly spiritual chaos of our time.}}

== Questions for Consideration ==
# How does Eliot’s use of fragmentation (abrupt shifts in voice, language, and reference) mirror the modernist vision of cultural breakdown?
# In what ways does ''The Waste Land'' both critique and participate in the Western literary canon through its allusions?
# How does the poem treat the relationship between sexuality, sterility, and renewal?
# How might Eliot’s religious sensibilities—especially his later Anglo-Catholicism—inform the poem’s view of modernity?
# Consider the poem’s gendered voices (Marie, the hyacinth girl, Madame Sosostris, the typist, Lil). What do they reveal about power, fragmentation, or moral decay?
# What role does myth serve in the poem? Is myth a source of redemption, or another sign of modern disconnection?
# How does the final invocation of the Upanishads (“Datta, Dayadhvam, Damyata … Shantih”) reframe the European themes of the poem?
# Does the poem’s conclusion offer peace or only exhaustion?

== Sample Journal Approaches ==
# Fragmentation and Voice: Choose one section and trace its shifting speakers and tones. How do these transitions shape your sense of coherence—or deliberate incoherence—in the poem?
# Intertextual Web: Identify two allusions and consider how they interact. Does Eliot’s use of myth or scripture illuminate or obscure meaning?
# Modern Alienation: Record your personal response to the poem’s portrayal of isolation or spiritual emptiness. Where do you see parallels to contemporary culture?
# Sound and Rhythm: How do Eliot’s repetitions, abrupt breaks, and multilingual lines affect your reading experience?
# Possibility of Renewal: By the end of the poem, do you feel any genuine movement toward redemption or hope? Why or why not?
# Critical Lens: Apply a feminist, Marxist, or psychoanalytic reading to one passage. How does that perspective reshape your understanding of Eliot’s depiction of the modern world?

== Notes & References ==
{{Reflist}}

[[Category:Modernism]]
[[Category:ENGL 2122]]

CompFAQ:Index

2025-11-12T14:23:16Z

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{{SHORTDESC:From Reading to Writing: A Composition Textbook}}
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{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}

The book is divided into sections that address the various stages of college composition in several {{c|Courses (FAQ)|courses}}: [[:Category:1101 (FAQ)|ENGL 1101]] introduces students to the fundamentals of college writing; [[:Category:1102 (FAQ)|ENGL 1102]] acts as an introduction to literature; “[[:Category:Lit Survey (FAQ)|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[:Category:WritDM (FAQ)|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content. Students new to this site might begin with the primer questions below.

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==Primer Questions==
Consider the following as a primer for first-year college writing. These are the {{c|Basics (FAQ)|basic concepts}} that you should already have an understanding of before beginning first-year composition.
# [[CompFAQ:First-Year Composition|What writing knowledge should I already have coming into college?]]
# [[CompFAQ:Getting Started|How do I get started writing?]]
# [[CompFAQ:Questions|What questions do I need to ask as a writer?]]
# [[CompFAQ:Critical Thinking|What is “critical thinking”?]]
# [[CompFAQ:Thesis|What is a “thesis statement”?]]
# [[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]
# [[CompFAQ:AI|Is it cheating or unethical to use an AI to help with writing?]]
# [[CompFAQ:Lit Primer|How do I begin writing about literature?]]
{{clr}}

{{CompFAQ-foot}}

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2025-11-12T14:22:22Z

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{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}

The book is divided into sections that address the various stages of college composition in several {{c|Courses (FAQ)|courses}}: [[:Category:ENGL 1101 (FAQ)|ENGL 1101]] introduces students to the fundamentals of college writing; [[:Category:ENGL 1102 (FAQ)|ENGL 1102]] acts as an introduction to literature; “[[:Category:Lit Survey (FAQ)|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[:Category:WritDM (FAQ)|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content. Students new to this site might begin with the primer questions below.

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==Primer Questions==
Consider the following as a primer for first-year college writing. These are the {{c|Basics (FAQ)|basic concepts}} that you should already have an understanding of before beginning first-year composition.
# [[CompFAQ:First-Year Composition|What writing knowledge should I already have coming into college?]]
# [[CompFAQ:Getting Started|How do I get started writing?]]
# [[CompFAQ:Questions|What questions do I need to ask as a writer?]]
# [[CompFAQ:Critical Thinking|What is “critical thinking”?]]
# [[CompFAQ:Thesis|What is a “thesis statement”?]]
# [[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]
# [[CompFAQ:AI|Is it cheating or unethical to use an AI to help with writing?]]
# [[CompFAQ:Lit Primer|How do I begin writing about literature?]]
{{clr}}

{{CompFAQ-foot}}

Category:Courses (FAQ)

2025-11-12T14:18:40Z

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[[Category:CompFAQ]]

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2025-11-12T14:18:30Z

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CompFAQ:First-Year Composition

2025-11-12T13:30:49Z

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{{short description|What you should already know about writing coming into college.}}
{{CompFAQ/Nav}}

{{See also|CompFAQ:Persuasive Writing}}

{{dc|W}}{{start|elcome to ENGL 1101, Freshman Composition:}} the class that will prepare you to learn and gain a fluency with college-level writing skills. While each major will have its own special considerations when it comes to writing, ENGL 1101 is designed to teach you the '''general skills''' necessary to write a competent college essay.

That said, you should already be entering college with some writing literacy—and you might already know more than you think. Most ENGL 1101 instructors will expect students to have a general understanding of the following writing skills:
* '''Grammar''': Students should have a solid understanding of basic grammar rules, including sentence structure, punctuation, subject-verb agreement, and verb tense. [[:Category:Mechanics (FAQ)|See Grammar & Mechanics Questions »]]
* '''Vocabulary''': Students should have a good command of vocabulary and be able to use words effectively in their writing. [[CompFAQ:Vocabulary|See Vocabulary »]]
* '''Organization''': Students should be able to organize their thoughts and ideas in a clear and logical manner. This includes using appropriate transitions between paragraphs and ensuring that the essay flows well. [[:Category:Organization (FAQ)|See Structural Questions »]]
* '''Research''': Students should be able to conduct research and incorporate sources into their writing. This includes using appropriate citation styles, such as MLA or APA. [[:Category:Research (FAQ)|See Research Questions »]]
* '''Revision''': Students should be able to revise and edit their writing for clarity, coherence, and correctness. This includes proofreading for spelling and grammatical errors, as well as making substantive changes to improve the overall quality of the essay. [[CompFAQ:Revision|See Revision »]]
* '''Critical thinking''': Students should be able to analyze and interpret texts critically and thoughtfully, and use evidence to support their arguments. [[CompFAQ:Reading (FAQ)|See Reading Questions »]]
* '''Audience awareness''': Students should be able to write for a specific [[CompFAQ:Audience|audience]], and use [[CompFAQ:Tone|appropriate tone]] and language to engage their readers.

Again, while many student might fluent in some of the above skills, you should ''at least'' be familiar with the above. ENGL 1101 will help you hone these skills a bit more, providing with advanced strategies for [[CompFAQ:Persuasive Writing|writing more persuasively]]. Writing is a continuous process—you don’t just wake up one day with a mastery of the skill. Like anything else worth doing well, writing takes continual practice not only to learn the skills in the first place, but to keep them fresh.

The best way to become a strong writer is to read and write on a consistent basis.

{{CompFAQ-foot}}
{{DEFAULTSORT:First-Year Composition}}
[[Category:Basics (FAQ)]]
[[Category:1101 (FAQ)]]

CompFAQ:Essay

2025-11-12T13:20:38Z

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{{SHORTDESC:The Essay Is the King of College Writing . . . Still}}
{{CompFAQ/Nav}}

{{dc|I}}{{start|n college writing, an essay}} is a piece of writing that presents an argument or perspective on a topic. It typically consists of an [[CompFAQ:Organization/Introduction|introduction]] that presents the main idea or [[CompFAQ:Thesis|thesis]] of the essay, a [[CompFAQ:Organization/Body|body]] that [[CompFAQ/Support|develops and supports]] the thesis with evidence and examples, and a [[CompFAQ:Organization/Conclusion|conclusion]] that summarizes the main points, restates the thesis in a new way, and looks beyond the scope of the essay. Essays can be formal or informal, academic or personal, and can range in length from a few paragraphs to many pages. They are often used as a way for writers to communicate their ideas and opinions on a topic in a clear and persuasive manner.

There are several types of essays that students may be asked to write. Here are some of the most common:
* '''Narrative Essay''': This type of essay tells a story or recounts an experience. It often includes sensory details and dialogue to engage the reader.
* '''Descriptive Essay''': A descriptive essay is a type of essay that uses vivid language and sensory details to describe a person, place, or thing. The purpose is to create a picture in the reader's mind.
* '''Expository Essay''': This type of essay presents information or explains a topic in a clear and concise manner. It may include definitions, examples, or analysis to help the reader understand the topic.
* '''Persuasive Essay''': A persuasive essay is a type of essay that aims to convince the reader to adopt a certain viewpoint or take a particular action. It often includes evidence and logical arguments to support the writer’s position.
* '''Argumentative Essay''': Similar to a persuasive essay, an argumentative essay aims to persuade the reader to take a certain position on a topic. However, it also involves presenting and refuting counterarguments.
* '''Compare and Contrast Essay''': This type of essay compares and contrasts two or more things, such as ideas, people, or events. It may include similarities and differences, as well as the significance of these comparisons.
* '''Cause and Effect Essay''': A cause and effect essay explores the relationship between two or more events, identifying the causes that led to a particular outcome and the effects that result from it.

Essays are often called “creative nonfiction” and can sometimes be difficult to distinguish from fiction or short stories. Indeed, sometimes, like in the case of George Orwell’s famous “[[w:Shooting an Elephant|Shooting an Elephant]],” the distinction remains ambiguous. Generally they are unique genres with key differences:
* '''Purpose''': The purpose of an essay is usually to persuade, inform, or explain, while the purpose of a short story is usually to entertain or evoke emotions.
* '''Structure''': Essays generally follow a structured format with an introduction, body paragraphs, and a conclusion, while short stories have more flexibility in structure and may use different techniques such as flashbacks or multiple narrators.
* '''Characterization''': Essays typically do not involve character development or extensive description of characters, while short stories generally rely on detailed characterization to convey the story.
* '''Plot''': Essays may have a central argument or thesis, but do not necessarily have a traditional plot with rising action, climax, and resolution. Short stories, on the other hand, usually have a clear plot and narrative structure.
* '''Length''': Essays can vary in length from a few paragraphs to several pages, while short stories are usually longer and require more time to read.

Overall, the main difference between an essay and a short story is their purpose and structure. Essays are more focused on conveying information or making an argument, while short stories are more focused on telling a story and evoking emotions in the reader.

==Examples==
There are many famous essays that can serve as models or inspirations for your own writing. Indeed, perhaps the best way to become a strong writer is to be a strong reader. Here are a few examples:
* “[[w:Self-Reliance|Self-Reliance]]” by Ralph Waldo Emerson: This essay encourages readers to rely on their own intuition and beliefs rather than following the crowd.
* “[[w:Civil Disobedience (Thoreau)|Civil Disobedience]]” by Henry David Thoreau: In this essay, Thoreau argues that individuals have a duty to disobey unjust laws.
* “[[w:The Death of the Moth|The Death of the Moth]]” by Virginia Woolf: This essay is a meditation on life and death, using the image of a moth to explore these themes.
* “[[w:Why I Write|Why I Write]]” by George Orwell: Orwell reflects on his own motivations for writing and the importance of honesty and clarity in writing.
* “[[w:Notes of a Native Son#"Notes of a Native Son"|Notes of a Native Son]]” by James Baldwin: In this essay, Baldwin reflects on his experiences as a Black man in America and the role of race in society.
* “[[w:A Modest Proposal|A Modest Proposal]]” by Jonathan Swift: This satirical essay proposes a shocking solution to the problem of poverty in Ireland, highlighting the absurdity of the social and political conditions of the time.
* “[[w:The Myth of Sisyphus#Chapter 4: The Myth of Sisyphus|The Myth of Sisyphus]]” by Albert Camus: This philosophical essay explores the human condition and the search for meaning in a world that is often absurd.

Reading these essays can not only provide inspiration but also help you to develop your own writing skills by observing the techniques used by these great writers.

{{CompFAQ-foot}}
{{DEFAULTSORT:Essay}}
[[Category:Basics (FAQ)]]
[[Category:Organization (FAQ)]]

CompFAQ:Index

2025-11-12T12:51:38Z

Glucas: Updated footer.

{{SHORTDESC:From Reading to Writing: A Composition Textbook}}
{{CompFAQ/Nav}}

{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}

The book is divided into sections that address the various stages of early college composition: [[CompFAQ:ENGL 1101|ENGL 1101]] introduces students to the fundamentals of college writing; [[CompFAQ:ENGL 1102|ENGL 1102]] acts as an introduction to literature; “[[CompFAQ:Lit Survey|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[CompFAQ:WritDM|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content. Students new to this site might begin with the primer questions below.

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==Primer Questions==
Consider the following as a primer for first-year college writing. These are the {{c|Basics (FAQ)|basic concepts}} that you should already have an understanding of before beginning first-year composition.
# [[CompFAQ:First-Year Composition|What writing knowledge should I already have coming into college?]]
# [[CompFAQ:Getting Started|How do I get started writing?]]
# [[CompFAQ:Questions|What questions do I need to ask as a writer?]]
# [[CompFAQ:Critical Thinking|What is “critical thinking”?]]
# [[CompFAQ:Thesis|What is a “thesis statement”?]]
# [[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]
# [[CompFAQ:AI|Is it cheating or unethical to use an AI to help with writing?]]
# [[CompFAQ:Lit Primer|How do I begin writing about literature?]]
{{clr}}

{{CompFAQ-foot}}

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{{dc|C}}{{start|ollege writers should have some basic knowledge}} of essay writing, such as the purpose of an essay, the different types of essays, and the components of an essay. They should also have a basic understanding of grammar and mechanics, including sentence structure, punctuation, and spelling. Additionally, they should have some experience with research and the proper citation of sources.
{{div col|colwidth=30em}}
# [[CompFAQ:Essay|What is an essay?]]
# [[CompFAQ:Topic|How does a “topic” differ from a “subject”?]]
# [[CompFAQ:Topic|What is a strong topic for an essay?]]
# [[CompFAQ:Ideas|Where do I go for essay topic ideas?]]
# [[CompFAQ:Purpose|What is meant by “purpose” in an essay?]]
# [[CompFAQ:Getting Started|What’s the best way to organize my thoughts before writing?]]
{{div col end}}

[[Category:CompFAQ]]

CompFAQ:Index

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Glucas: Added primer questions.

{{SHORTDESC:From Reading to Writing: A Composition Textbook}}
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{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}

The book is divided into sections that address the various stages of early college composition: [[CompFAQ:ENGL 1101|ENGL 1101]] introduces students to the fundamentals of college writing; [[CompFAQ:ENGL 1102|ENGL 1102]] acts as an introduction to literature; “[[CompFAQ:Lit Survey|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[CompFAQ:WritDM|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content. Students new to this site might begin with the primer questions below.

== Browse by Category ==
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==Primer Questions==
Consider the following as a primer for first-year college writing. These are the {{c|Basics (FAQ)|basic concepts}} that you should already have an understanding of before beginning first-year composition.
# [[CompFAQ:First-Year Composition|What writing knowledge should I already have coming into college?]]
# [[CompFAQ:Getting Started|How do I get started writing?]]
# [[CompFAQ:Questions|What questions do I need to ask as a writer?]]
# [[CompFAQ:Critical Thinking|What is “critical thinking”?]]
# [[CompFAQ:Thesis|What is a “thesis statement”?]]
# [[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]
# [[CompFAQ:AI|Is it cheating or unethical to use an AI to help with writing?]]
# [[CompFAQ:Lit Primer|How do I begin writing about literature?]]
{{clr}}

----

''Written by [[User:Glucas|Gerald R. Lucas]]. Licensed [[File:Cc-by.svg|14px|link=https://creativecommons.org/licenses/by/4.0|CC BY 4.0]].''

CompFAQ:Index

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{{SHORTDESC:From Reading to Writing: A Composition Textbook}}
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{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}
{{quote box|title=Start Here|title_bg=#CCD1D1|{{bulleted list|[[CompFAQ:Getting Started|How do I get started writing?]]|[[CompFAQ:Questions|What questions do I need to ask as a writer?]]|[[CompFAQ:Critical Thinking|What is “critical thinking"?]]|[[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]}}|width=40%}}
The book is divided into sections that address the various stages of early college composition: [[CompFAQ:ENGL 1101|ENGL 1101]] introduces students to the fundamentals of college writing; [[CompFAQ:ENGL 1102|ENGL 1102]] acts as an introduction to literature; “[[CompFAQ:Lit Survey|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[CompFAQ:WritDM|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content.

== Browse by Category ==
This index contains all of the questions available on this FAQ, divided by type. Some questions may be repeated in two or more sections.

<categorytree mode=pages>Category:CompFAQ</categorytree>

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''Written by [[User:Glucas|Gerald R. Lucas]]. Licensed [[File:Cc-by.svg|14px|link=https://creativecommons.org/licenses/by/4.0|CC BY 4.0]].''

CompFAQ:Index

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{{SHORTDESC:From Reading to Writing: A Composition Textbook}}
{{CompFAQ/Nav}}

{{dc|W}}{{Big|{{Start|hat began as a Composition FAQ}} to address difficulties that many new college writers have with mechanics, style, content, and structure has metamorphosed into a no-cost, online textbook for first- and second-year college students that takes the idea that ''better readers make better writers'' as its guiding premise.}}
{{quote box|title=Start Here|title_bg=#CCD1D1|{{bulleted list|[[CompFAQ:Getting Started|How do I get started writing?]]|[[CompFAQ:Questions|What questions do I need to ask as a writer?]]|[[CompFAQ:Critical Thinking|What is “critical thinking"?]]|[[CompFAQ:Persuasive Writing|How can my writing be more persuasive?]]}}|width=40%}}
The book is divided into sections that address the various stages of early college composition: [[CompFAQ:ENGL 1101|ENGL 1101]] introduces students to the fundamentals of college writing; [[CompFAQ:ENGL 1102|ENGL 1102]] acts as an introduction to literature; “[[CompFAQ:Lit Survey|Lit Survey]]” develops more advanced writing skills for sophomore humanities courses; and “[[CompFAQ:WritDM|WritDM]]” teaches the composition skills for writing in digital platforms. Each of these sections of the book will use the CompFAQ as its content.

== Browse by Category ==
<categorytree mode=pages>Category:CompFAQ</categorytree>

The CompFAQ is hypertextual and is divided into the sections outlined above, or do a keyword search.

<html>
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<input type="submit" value="Search" />
</form>
</div>
</html>

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''Written by [[User:Glucas|Gerald R. Lucas]]. Licensed [[File:Cc-by.svg|14px|link=https://creativecommons.org/licenses/by/4.0|CC BY 4.0]].''

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Category:Style (FAQ)

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{{SHORTDESC:FAQ entries addressing style concerns and strategies.}}
{{Dc|S}}{{start|tyle}} refers to the way a writer uses language}} to convey his or her ideas and express his or her personality. Style encompasses the writer’s choice of words, sentence structure, tone, and even punctuation. A writer’s style can be formal, informal, persuasive, narrative, descriptive, or any combination of these. It is what makes a writer’s work unique and identifiable. Good style is clear, concise, and appropriate for the audience and purpose of the writing.
{{div col|colwidth=30em}}
# [[CompFAQ:Stylistic Strategies|What is “style” and how can I make it more effective?]]
# [[CompFAQ:Detail|What is “interesting detail” and how do I use it?]]
# [[CompFAQ:Vague Language|What is “vague/weak” language and how do I avoid it?]]
# [[CompFAQ:Point of View|What is “point of view”?]]
# [[CompFAQ:Tone|What is “tone”?]]
# [[CompFAQ:It and This|What is wrong with “it” and “this”?]]
# [[CompFAQ:Passive and Active Voice|What is the difference between “passive” and “active” voice?]]
# [[CompFAQ:Word Choice|What is “word choice”?]]
# [[CompFAQ:Awkward Constructions|What is an “awkward sentence”?]]
# [[CompFAQ:Redundancy|What is “redundancy”? Is it the same as “repetition”?]]
# [[CompFAQ:Wordiness|What is “wordiness”?]]
# [[CompFAQ:Cliché|When is something “clichéd” or “trite”?]]
{{div col end}}

{{DEFAULTSORT:Style}}
[[Category:CompFAQ]]

CompFAQ:Point of View

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{{SHORTDESC:POV Gives Perspective to Writing}}
{{CompFAQ/Nav}}

{{dc|P}}{{start|oint of view}} is a critical aspect of effective writing, as it influences how the story or argument is presented to the reader. Whether writing a narrative or an argumentative essay, choosing the right point of view can make all the difference in engaging your audience and communicating your ideas clearly. From first-person narration to objective reporting, mastering point of view is an essential skill for any successful writer.

In literature and writing, '''point of view''' (or '''pov''') refers to the perspective or angle from which a story or essay is told. It is the position or stance that the author takes in relation to the [[CompFAQ:Narrative|narrative]]. The point of view can be determined by the pronouns used in the text, such as “I” for first-person point of view, “you” for second-person point of view, or “he/she/they” for third-person point of view. It also includes the author’s choice of narrative voice, tone, and language, which can affect the reader’s understanding and interpretation of the text.

In essay writing, the choice of point of view depends on the [[CompFAQ:Purpose|purpose]] and [[CompFAQ:Audience|audience]] of the essay. Here are some tips for using point of view effectively in essay writing:
* '''Consider the purpose of the essay''': The point of view you choose should be appropriate for the purpose of your essay. If you are writing a personal essay or a [[Reader-Response Criticism|reader-response]], you might use first-person point of view to create a sense of intimacy with the reader. If you are writing a research paper, you might use third-person point of view to maintain an objective, scholarly tone.
* '''Consider the audience''': The point of view you choose should also be appropriate for your audience. If you are writing for a general audience, you might use second-person point of view to address the reader directly and engage them in the essay. If you are writing for a specialized academic audience, you might use third-person point of view to demonstrate your expertise and professionalism.
* '''Be consistent''': Once you choose a point of view, be consistent throughout your essay. Shifting between first-person and third-person point of view can be confusing for the reader and weaken the overall impact of your essay.
* '''Use point of view strategically''': Point of view can be used strategically to enhance the effectiveness of your essay. For example, you might use first-person point of view to describe a personal experience that supports your argument, or you might use third-person point of view to provide an objective analysis of a topic.

Overall, the choice of point of view in essay writing depends on the purpose, audience, and [[CompFAQ:Tone|tone]] of the essay. A well-chosen point of view can help you connect with your readers, establish credibility, and effectively convey your ideas.

==Avoid the Second-Person POV==
The use of second-person pronouns and addressing the reader directly is generally discouraged in academic writing, especially in college essays, since such writing is expected to be formal, objective, and impersonal. The focus should be on the ideas rather than the reader. Using second-person pronouns such as “you” can come across as too informal and may also make assumptions about the reader’s experiences or beliefs, which may not be accurate. Always maintain a sense of professionalism and avoid making the reader feel uncomfortable or excluded.

Instead, it is typically recommended to use first-person point of view (“I”) or third-person point of view (“he,” “she,” “they”) depending on the type and tone of the essay. However, there may be some rare cases where second-person point of view is appropriate, such as in a creative writing assignment or a persuasive essay where the writer wants to directly address the reader. In those cases, it’s important to use second-person point of view judiciously and with a clear purpose.

Additionally, addressing the reader directly may shift the focus away from the main point of the essay and distract from the argument being made. It is important to remember that the purpose of a college essay is to present a well-reasoned argument or analysis and support it with evidence. The use of second-person pronouns can sometimes make the writing sound like a personal opinion rather than an academic argument.

Therefore, it is recommended to use third-person pronouns or simply refer to the subjects of the essay by name or title. This helps maintain a level of formality and objectivity that is expected in academic writing.

{{CompFAQ-foot}}
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[[Category:Organization (FAQ)]]
[[Category:Rhetoric (FAQ)]]
[[Category:Style (FAQ)]]

CompFAQ:Vague Language

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{{SHORTDESC:Avoid Vague and Weak Language}}
{{CompFAQ/Nav}}

{{dc|V}}{{start|ague or weak language}} refers to words or phrases that lack specificity and clarity, making it difficult for readers to understand your meaning. Here are some tips to help you avoid using vague or weak language in your writing:

'''Use concrete nouns''': Concrete nouns refer to things that can be seen, touched, smelled, tasted, or heard. Using concrete nouns instead of abstract ones makes your writing more vivid and specific.

:Example of weak language: I saw a thing on the ground.
:Example of strong language: I saw a broken glass bottle on the ground.

'''Use strong verbs''': Strong verbs convey action and make your writing more engaging. Avoid using [[CompFAQ:Passive Voice|passive verbs]] like “is” or “was” unless they are necessary.

:Example of weak language: The weather was bad yesterday.
:Example of strong language: The storm raged yesterday.

'''Avoid vague adjectives and adverbs''': Vague adjectives and adverbs don’t add much meaning to your writing and can be replaced with more descriptive alternatives.

:Example of weak language: She was very happy.
:Example of strong language: She was ecstatic.

'''Be specific''': Use specific details to provide a clear and accurate picture of what you are describing.

:Example of weak language: The car was nice.
:Example of strong language: The shiny red sports car was a thing of beauty.

By avoiding vague or weak language, your writing will become more precise, engaging, and persuasive.

==Weak Constructions==
Here are some additional stylistically weak constructions, some of which are detailed in separate entries, that you should avoid in your writing:

'''[[CompFAQ:Passive Voice|Passive voice]]''': Using the passive voice can make your writing sound weak and impersonal. Instead, use active voice to make your writing more direct and engaging.

:Weak: The ball was thrown by John.
:Strong: John threw the ball.

'''[[CompFAQ:Redundancy|Redundancy]]''': Using unnecessary words or phrases can weaken your writing and make it less concise.

:Weak: He gave a speech that was quite interesting.
:Strong: He gave an interesting speech.

'''[[CompFAQ:Cliché|Clichés]]''': Using overused expressions can make your writing sound unoriginal and uninspired.

:Weak: When it rains, it pours.
:Strong: The situation became worse as more problems arose.

'''[[CompFAQ:Generalizations|Generalizations]]''': Making broad statements without providing specific examples or evidence can weaken your argument and make your writing less persuasive.

:Weak: Everyone knows that climate change is a serious problem.
:Strong: Climate change is a serious problem that is supported by a vast body of scientific evidence.

'''Hedging''': Using language that suggests uncertainty or doubt can make your writing sound weak and unconvincing.
:Weak: I think that the data might suggest that there is a correlation.
:Strong: The data clearly indicates a strong correlation between these two variables.

“I think” statements also weaken an argument because they suggest uncertainty or a lack of confidence in one’s own ideas, or betray a lack of [[CompFAQ:Evidence|evidence]]. Other similar structures or phrases that can weaken an argument include:
{{Div col|colwidth=20em}}
* “I believe”
* “It seems to me that”
* “In my opinion”
* “To the best of my knowledge”
* “As far as I’m concerned”
* “I’m not sure, but”
* “I may be wrong, but”
* “I’m no expert, but”
{{div col end}}

To avoid weakening an argument, use direct, confident language that presents your ideas as firmly supported and credible.

{{CompFAQ-foot}}
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[[Category:Style (FAQ)]]

CompFAQ:Detail

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{{SHORTDESC:Use Detail to Make Writing More Interesting and Persuasive}}
{{CompFAQ/Nav}}

{{See also|CompFAQ:Support}}

{{dc|I}}{{start|nteresting detail}} refers to specific and engaging information that adds depth and richness to your writing. Interesting details can take many forms, such as anecdotes, descriptions, statistics, or quotations, and are often used to illustrate or support your main ideas.

In order to use interesting detail effectively in your essay, you should:
# '''Choose details that are relevant''': The details you use should support your main ideas and help you to develop your argument.
# '''Use concrete and specific details''': Use specific examples, anecdotes, and descriptions to bring your ideas to life and engage your reader.
# '''Use variety''': Vary the types of interesting details you use in your writing to keep your reader engaged and interested.
# '''Use details to create a vivid picture''': Use interesting details to paint a picture of your topic or subject in your reader’s mind.
# '''Use details to support your thesis''': Use interesting details to provide [[CompFAQ:Support|evidence]] for [[CompFAQ:Thesis|your argument]] or to show how your ideas relate to the real world.

{{A note|Don't sacrifice clarity for the sake of creativity: While it’s important to use vivid and descriptive language, don't sacrifice clarity for the sake of creativity. Make sure your writing is easy to understand and that your ideas are presented clearly and logically.}}

==Emotional Appeals (Logos)==
{{See also|CompFAQ:Rhetoric/Ethos, Logos, Pathos}}

''Pathos'' is the appeal to emotion. It aims to evoke an emotional response from readers and make them feel a connection to the topic at hand. When using ''pathos'' in writing, it is important to use vivid and descriptive language that taps into the reader's emotions. For example, if writing an essay about the impact of poverty on children, telling a personal story of a child in poverty and the challenges they face could be a powerful way to use pathos.

There are several strategies for using vivid and descriptive language that taps into the reader’s emotions:
* '''Use sensory language''': Use words that evoke sensory experiences such as sight, sound, smell, taste, and touch. This helps readers connect with the subject and creates a more vivid picture in their minds.<br />Example: The smell of fresh baked cookies filled the room, making my mouth water.
* '''Use metaphor and simile''': Comparing one thing to another can help create a powerful image in the reader's mind. {{crossreference|(See [[#Figurative Language|Figurative Language]] below.)}}<br />Example: His heart was a ticking time bomb, waiting to explode.
* '''Use active verbs''': Active verbs make the sentence more engaging and helps the reader visualize the action.<br />Example: The car screeched to a halt at the red light.
* '''Use emotional language''': Use words that evoke strong emotions in the reader, such as love, fear, anger, or joy.<br />Example: My heart swelled with pride as I watched my daughter walk across the stage to receive her diploma.
* '''Use storytelling techniques''': Telling a story can help readers connect with the subject on an emotional level.<br />Example: As I walked through the dark and eerie woods, I couldn't shake the feeling that I was being watched.

Remember, using vivid and descriptive language is not about showing off your vocabulary or trying to be flowery. It’s about creating a more engaging and memorable experience for the reader.

{{A warn|Be careful with emotional appeals: While tapping into the reader’s emotions can be effective, be careful not to manipulate or exploit their emotions. Stick to arguments that are based on reason and evidence (''logos''), and use emotional appeals sparingly and thoughtfully.}}

==Figurative Language==
{{See also|CompFAQ:Figurative Language}}
Figurative language can also be a great way to make your writing more interesting and engaging. Figurative language includes devices such as metaphors, similes, personification, and hyperbole, which can be used to create vivid images and convey complex ideas in a more engaging way.

For example, instead of saying “the wind was strong,” you could use a metaphor and say “the wind was a roaring beast, tearing through the trees.” This creates a more vivid and engaging image in the reader’s mind, and helps to convey a sense of the wind’s strength and power.

Like appeals to ''pathos'', you should use figurative language judiciously and appropriately. Overusing metaphors or other figurative language can make your writing feel forced or contrived, and can distract from your main ideas. So, while figurative language can be a powerful tool, it’s important to use it in moderation and with a clear purpose in mind, like salt on french fries.

{{CompFAQ-foot}}
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CompFAQ:Stylistic Strategies

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{{SHORTDESC:Stylistic Strategies for Effective Writing}}
{{CompFAQ/Nav}}

{{Dc|A}}{{start|t this point in learning to write,}} you should have already mastered basic skills and can turn your attention to writing with an effective style. '''Style''' in writing refers to the way a writer uses language and rhetorical devices to convey their message to the reader. It includes the writer’s word choice, sentence structure, tone, and other stylistic elements.

For first-year writing students, developing a strong and effective style is essential to communicating their ideas clearly and persuasively. Here are some reasons why style is important for first-year writing students:
# '''Style sets the tone''': The way a writer uses language can affect how the reader perceives the message. A clear and concise style can create a professional and authoritative [[CompFAQ:Tone|tone]], while a conversational style can create a more informal and friendly tone.
# '''Style helps with clarity''': The way a writer structures her sentences can affect how easily the reader can understand the message. Clarity is essential for communicating ideas effectively, and a strong style can help achieve this.
# '''Style creates interest''': A strong style can engage readers and make them interested in what the writer has to say. By using rhetorical devices and other stylistic elements, the writer can make his writing more interesting and engaging to the reader.
# '''Style enhances credibility''': A clear and effective style can enhance the writer’s [[CompFAQ:Credibility|credibility]] by demonstrating their mastery of the subject matter and their ability to communicate it effectively.

Overall, developing a strong and effective style is essential for first-year writing students. It can help them communicate their ideas clearly, engage the reader, and enhance their credibility as writers. Consider these general strategies}} to make your writing style more effective:
* '''Use clear and concise language''': Use simple, straightforward language to convey your ideas.
* '''Vary sentence structure''': Use a mix of long and short sentences to keep your writing interesting and engaging.
* '''Use active voice''': In active voice, the subject performs the action, which makes the sentence more direct and engaging.
* '''Use strong verbs''': Strong verbs can make your writing more dynamic and engaging.
* '''Avoid jargon and technical language''': Unless writing for a specialized audience, avoid using technical language and jargon that might be confusing to readers.
* '''Use transitions''': Use transitional words and phrases to connect ideas and create a smooth flow between sentences and paragraphs.
* '''Proofread and edit''': Always proofread and edit your writing to catch errors and ensure clarity.

Here are some examples:

:Instead of: “The reason why I am writing this essay is to explain my point of view on the topic of climate change.”<br />Use: “Climate change has individual and global consequences.”

:Instead of: “There are a variety of different factors that contribute to the problem of obesity in the United States.”<br />Use: “Several factors contribute to obesity in the United States.”

:Instead of: “The majority of students find it extremely difficult to write essays that are concise and to the point.”<br />Use: “Most students struggle to write concise essays.”

:Instead of: “The company is planning to make a strategic decision that will result in a significant increase in profits.”<br />Use: “The company plans to increase profits with a strategic decision.”

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Category:Style (FAQ)

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{{SHORTDESC:FAQ entries addressing style concerns and strategies.}}

{{Dc|S}}{{start|tyle}} refers to the way a writer uses language}} to convey his or her ideas and express his or her personality. Style encompasses the writer’s choice of words, sentence structure, tone, and even punctuation. A writer’s style can be formal, informal, persuasive, narrative, descriptive, or any combination of these. It is what makes a writer’s work unique and identifiable. Good style is clear, concise, and appropriate for the audience and purpose of the writing.
{{div col|colwidth=30em}}
# [[CompFAQ:Stylistic Strategies|What is “style” and how can I make it more effective?]]
# [[CompFAQ:Detail|What is “interesting detail” and how do I use it?]]
# [[CompFAQ:Vague Language|What is “vague/weak” language and how do I avoid it?]]
# [[CompFAQ:Point of View|What is “point of view”?]]
# [[CompFAQ:Tone|What is “tone”?]]
# [[CompFAQ:It and This|What is wrong with “it” and “this”?]]
# [[CompFAQ:Passive and Active Voice|What is the difference between “passive” and “active” voice?]]
# [[CompFAQ:Word Choice|What is “word choice”?]]
# [[CompFAQ:Awkward Constructions|What is an “awkward sentence”?]]
# [[CompFAQ:Redundancy|What is “redundancy”? Is it the same as “repetition”?]]
# [[CompFAQ:Wordiness|What is “wordiness”?]]
# [[CompFAQ:Cliché|When is something “clichéd” or “trite”?]]
{{div col end}}

{{DEFAULTSORT:Style}}
[[Category:CompFAQ]]

Category:Style (FAQ)

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{{SHORTDESC:FAQ entries addressing style concerns and strategies.}}

{{Dc|S}}{{start|tyle}} refers to the way a writer uses language}} to convey his or her ideas and express his or her personality. Style encompasses the writer’s choice of words, sentence structure, tone, and even punctuation. A writer’s style can be formal, informal, persuasive, narrative, descriptive, or any combination of these. It is what makes a writer’s work unique and identifiable. Good style is clear, concise, and appropriate for the audience and purpose of the writing.
{{div col|colwidth=20em}}
# [[CompFAQ:Stylistic Strategies|What is “style” and how can I make it more effective?]]
# [[CompFAQ:Detail|What is “interesting detail” and how do I use it?]]
# [[CompFAQ:Vague Language|What is “vague/weak” language and how do I avoid it?]]
# [[CompFAQ:Point of View|What is “point of view”?]]
# [[CompFAQ:Tone|What is “tone”?]]
# [[CompFAQ:It and This|What is wrong with “it” and “this”?]]
# [[CompFAQ:Passive and Active Voice|What is the difference between “passive” and “active” voice?]]
# [[CompFAQ:Word Choice|What is “word choice”?]]
# [[CompFAQ:Awkward Constructions|What is an “awkward sentence”?]]
# [[CompFAQ:Redundancy|What is “redundancy”? Is it the same as “repetition”?]]
# [[CompFAQ:Wordiness|What is “wordiness”?]]
# [[CompFAQ:Cliché|When is something “clichéd” or “trite”?]]
{{div col end}}

{{DEFAULTSORT:Style}}
[[Category:CompFAQ]]

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{{dc|W}}{{Big|{{start|elcome to LitWiki,}} a collaborative way to teach online classes and augment face-to-face courses in the humanities. Want to edit Wikipedia, but find it too daunting? Why not start here to gain experience and add to our community knowledge. Find out more about our mission and focus on our [[LitWiki:About|about page]].}}

== Course Support ==
* [[ENGL 1101|English Composition I]]
* [[ENGL 1102|English Composition II]]
* [[ENGL 2111|World Literature I]]
* [[ENGL 2122|British Literature II]]
* [[ENGL 5106|Tech Writing in the Digital Age]]

== Projects ==
* [[CompFAQ:Index|Composition FAQ]]

== Contribute ==
{{A warn|New users ''must'' confirm their email addresses (click Preferences above, right) before they can edit any pages on the wiki.}}
{{A tip|New users might begin with: [[LitWiki:How to Contribute|How to Contribute]]. If you are unfamiliar with writing on a wiki, see our [[Help:Contents|help page]], especially the links under [[Help:Contents#Getting Started|getting started]].}}

For more information or to find out how your class can use LitWiki, contact [[grl:Contact|Dr. Gerald Lucas]]. User account creation is currently disabled, so if you need an account for your class, send an email to {{Nospam|editor|litwiki.org}} that includes your preferred user name and what class you’re in. For what’s happening, visit [[LitWiki:Current_events | current events]]; or see our [[LitWiki:Community_Portal | community portal]] for additional information.

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{{dc|W}}{{Big|{{start|elcome to LitWiki,}} a collaborative way to teach online classes and augment face-to-face courses in the humanities. Want to edit Wikipedia, but find it too daunting? Why not start here to gain experience and add to our community knowledge. Find out more about our mission and focus on our [[LitWiki:About|about page]].}}

== Course Support ==
* [[ENGL 1101|English Composition I]]
* [[ENGL 1102|English Composition II]]
* [[ENGL 2111|World Literature I]]
* [[ENGL 2122|British Literature II]]
* [[ENGL 5106|Tech Writing in the Digital Age]]

== Projects ==
* [[CompFAQ:Index|Composition FAQ]]

== Contribute ==
{{A warn|New users ''must'' confirm their email addresses (click Preferences above, right) before they can edit any pages on the wiki.}}

{{Big|⭐️ New users might begin with: [[LitWiki:How to Contribute|How to Contribute]]. ⭐️}}

If you are unfamiliar with writing on a wiki, see our [[Help:Contents|help page]], especially the links under [[Help:Contents#Getting Started|getting started]].

For more information or to find out how your class can use LitWiki, contact [[grl:Contact|Dr. Gerald Lucas]]. User account creation is currently disabled, so if you need an account for your class, send an email to {{Nospam|editor|litwiki.org}} that includes your preferred user name and what class you’re in. For what’s happening, visit [[LitWiki:Current_events | current events]]; or see our [[LitWiki:Community_Portal | community portal]] for additional information.

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{{dc|W}}{{Big|{{start|elcome to LitWiki,}} a collaborative way to teach online classes and augment face-to-face courses in the humanities. Want to edit Wikipedia, but find it too daunting? Why not start here to gain experience and add to our community knowledge. Find out more about our mission and focus on our [[LitWiki:About|about page]].}}

== Course Support ==
* [[ENGL 1101|English Composition I]]
* [[ENGL 1102|English Composition II]]
* [[ENGL 2111|World Literature I]]
* [[ENGL 2122|British Literature II]]
* [[ENGL 5106|Tech Writing in the Digital Age]]

== Projects ==
* [[CompFAQ:Index|Composition FAQ]]

== Contribute ==
'''New users ''must'' confirm their email addresses (click Preferences above, right) before they can edit any pages on the wiki.'''

{{Big|⭐️ New users might begin with: [[LitWiki:How to Contribute|How to Contribute]]. ⭐️}}

If you are unfamiliar with writing on a wiki, see our [[Help:Contents|help page]], especially the links under [[Help:Contents#Getting Started|getting started]].

For more information or to find out how your class can use LitWiki, contact [[grl:Contact|Dr. Gerald Lucas]]. User account creation is currently disabled, so if you need an account for your class, send an email to {{Nospam|editor|litwiki.org}} that includes your preferred user name and what class you’re in. For what’s happening, visit [[LitWiki:Current_events | current events]]; or see our [[LitWiki:Community_Portal | community portal]] for additional information.

CompFAQ:Getting Started

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{{SHORTDESC:Prewriting: Plan Before You Write}}
{{CompFAQ/Nav}}

{{dc|M}}{{start|uch of the writing process}} takes place long before you put pen to paper or hands to keyboard. Rather than plunge right into a first draft when you get an assignment, spend some time thinking about what you hope to accomplish with your writing. This can be a daunting task, especially when you have a lot of ideas and information to sort through. However, taking the time to organize your thoughts before you start writing can make the writing process easier, more efficient, and lead to a better end result.

Writing is a form of communication. Approach a writing project as an attempt to communicate. [[CompFAQ:Audience|Who]] you are writing for and your [[CompFAQ:Purpose|purpose]] for writing are as important to effective communication as what you have to say about a [[CompFAQ:Topic|topic]]. The more thought and planning you put into any given writing project, the smoother the actual writing will go and the stronger the resulting text will be. Consider these strategies:

# '''Understand the assignment''': Carefully read the assignment prompt and make sure you understand what is being asked of you. Note any requirements such as length, formatting, and sources.
# '''Brainstorm ideas''': Spend some time brainstorming [[CompFAQ:Ideas|ideas]] on the topic. This can involve free-writing, mind mapping, or creating an outline.
# '''Use mind maps''': If you’re struggling to come up with ideas or to organize your thoughts, consider using a mind map. A mind map is a visual diagram that helps you organize your ideas and connect them to each other. You can use software or apps to create a mind map or draw one on paper. Start with a central idea and then branch out to related ideas.
# '''Develop a thesis statement''': Once you have a sense of what you want to write about, develop a clear and concise [[CompFAQ:Thesis|thesis statement]] that sets out your main argument.
# '''Research''': Depending on the assignment, you may need to do [[CompFAQ:Research|research]] to gather [[CompFAQ:Evidence|evidence]] to support your thesis. Be sure to keep track of your sources and take detailed notes.
# '''Organize your ideas''': Create an outline or a plan for how you will [[CompFAQ:Organization|organize]] your [[CompFAQ:Essay|essay]]. This will help you to stay focused and ensure that your [[CompFAQ:Development|essay flows logically]]. Your outline should include an introduction, body paragraphs, and a conclusion. Within each of these sections, include the main points you want to make.
# '''Write a draft''': Using your outline and notes, write a first draft of your essay. Don’t worry too much about perfection at this stage. Just focus on getting your ideas down on paper.
# '''Revise''': Once you have a draft, take some time to [[CompFAQ:Revision|revise it]]. Look for areas where you can clarify your ideas or add more supporting evidence. Pay attention to [[CompFAQ:Awkward Constructions|sentence structure]], grammar, and punctuation.
# '''Edit''': After revising, [[CompFAQ:Copyedit|copyedit]] your essay again to check for errors in spelling, grammar, and punctuation. Make sure you have followed any formatting guidelines provided by your instructor.
# '''Get feedback''': Show your essay to someone else and get their feedback, or take your essay to your university’s writing center. Consider their comments and use them to improve your essay.
# '''Finalize''': After incorporating feedback, finalize your essay and make any last-minute revisions. Double-check that you have followed all the requirements of the assignment before submitting.

{{CompFAQ-foot}}
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[[Category:Basics (FAQ)]]
[[Category:Prewriting (FAQ)]]

CompFAQ:Topic

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{{SHORTDESC:Choose a Strong, Focused Topic}}
{{CompFAQ/Nav}}

{{See also|CompFAQ:Ideas}}

{{dc|T}}{{start|he '''topic''' of an essay refers}} to the specific aspect or focus of the subject that the essay is addressing. The '''subject''', on the other hand, is the general area or theme that the essay is about.

For example, if the subject of an essay is “climate change,” the topic could be “the impact of climate change on sea levels,” “the role of carbon emissions in climate change,” or “strategies for mitigating the effects of climate change.” In other words, the subject provides the '''broad area of focus''' for the essay, while the topic '''narrows the focus''' to a specific aspect or angle within that subject.

It’s important to identify both the subject and the topic when planning and writing an essay, as they help to guide the overall focus and organization of the piece.

A '''strong topic''' for an essay is one that is specific, interesting, and relevant to the assignment or purpose of the essay. Try to choose a topic that is unique and hasn’t been extensively covered in previous research or writing.

Examples of essay topics could include:
* The impact of social media on mental health among young adults.
* The effects of climate change on ocean ecosystems.
* The portrayal of gender roles in contemporary literature.
* The history and significance of jazz music in American culture.
* The ethical implications of gene editing technology.

Note, too, that each of these examples could be narrowed even further so as to be covered more easily in a shorter essay. A '''narrow or focused topic''' allows for a more detailed and thorough analysis, making it easier to develop a strong argument or [[CompFAQ:Thesis|thesis]]; for example:
* The impact of Instagram on body image perception among teenage girls.
* The effects of ocean acidification on coral reefs in the Great Barrier Reef.
* The representation of femininity in the works of Sylvia Plath.
* The influence of Louis Armstrong on the development of jazz music in the 1920s.
* The ethical implications of using CRISPR gene editing technology to alter human embryos.

These topics are more specific and focused than the previous examples, allowing for a deeper exploration and analysis within the scope of the essay.

For strategies on developing a strong topic, see [[CompFAQ:Ideas]].

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[[Category:Basics (FAQ)]]
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CompFAQ:Purpose

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{{SHORTDESC:Know Your Purpose}}
{{CompFAQ/Nav}}

{{dc|T}}{{start|he '''purpose''' refers to the reason}} why you are writing and what you hope to achieve through your writing. The purpose of an essay can vary depending on the type of essay you are writing and the audience you are writing for.

Some common purposes for writing an essay include:
# '''To inform''': This type of essay aims to educate the reader about a particular topic or issue.
# '''To persuade''': This type of essay aims to convince the reader of a particular argument or point of view.
# '''To entertain''': This type of essay aims to engage the reader through storytelling or humor.
# '''To reflect''': This type of essay aims to explore personal experiences, thoughts, or emotions.

It’s important to have a clear understanding of your purpose before you start writing, as it will help guide your overall approach and organization. By identifying your purpose, you can ensure that your writing is focused, effective, and engaging for your intended audience.

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Category:Prewriting (FAQ)

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[[Category:Organization (FAQ)]]

CompFAQ:Ideas

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{{SHORTDESC:Write What ''You'' Like: Generating Ideas for Essays}}
{{CompFAQ/Nav}}

{{dc|G}}{{start|enerating strong and focused ideas}} for essay topics is crucial for producing a successful college essay. One way to do this is to start with broad topics that interest you, such as current events, social issues, or personal experiences, and then narrow them down to specific angles or perspectives. Another strategy is to consider the requirements of the assignment and identify a topic that meets those criteria while also aligning with your interests and passions. Additionally, brainstorming techniques, such as freewriting or mind mapping, can help you generate ideas and connect them in a meaningful way. By taking the time to generate strong and focused ideas, you can ensure that your essay is engaging, insightful, and compelling.

Consider the following strategies for developing essay [[CompFAQ:Topic|topics]]:
# '''Brainstorming''': Start by brainstorming a list of potential essay topics that interest you. Write down anything that comes to mind, even if it seems trivial or insignificant. Once you have a long list, you can start to narrow down your options.
# '''Freewriting''': Set a timer for 10-15 minutes and just start writing about a general topic that interests you. Don’t worry about grammar or spelling; just let your thoughts flow freely. This can help you generate ideas that you might not have thought of otherwise.
# '''Mind Mapping''': Create a visual map of potential essay topics by starting with a central idea and branching out to related subtopics. This can help you see connections between different ideas and find unique angles to explore.
# '''Reading and Researching''': Read books, articles, and essays on a variety of topics to get inspiration for your own writing. Take note of interesting ideas or themes that you come across, and consider how you might develop them into an essay. {{crossreference|(See [[CompFAQ:Support|Support]].)}}
# '''Personal Experience''': Think about personal experiences that have impacted you or changed your perspective on a certain topic. These experiences can provide a rich source of material for an essay.
# '''Current Events''': Look for current events or social issues that interest you and consider how you might approach them from a unique perspective. This can help you develop an essay that is both relevant and thought-provoking.
# '''Analyzing Texts''': [[CompFAQ:Analysis|Analyze]] literature, film, or other media to identify themes or ideas that interest you. Consider how you might develop these themes into an essay that provides insights into the human experience.

If you still can’t get a handle on a topic, do a bit of reading. By reading books, articles, and other materials ([[CompFAQ:Research/Wikipedia|Wikipedia]] can be your friend here—just don’t cite it in your paper) related to an assigned subject, you can discover new ideas and perspectives that may inspire you to write about a particular topic. You can also take notes on interesting or important information that you come across during your reading, which can help you to develop and refine your topic. Additionally, reading can help you to identify gaps in the literature or areas that need further [[CompFAQ:Research|research]], which can be the basis for a strong essay topic.

===Example: Climate Change===
These strategies might be used to develop an [[CompFAQ:Topic|essay topic on the subject]] of '''climate change''':
# Brainstorming: If you’re interested in climate change, you might brainstorm topics like “the impact of climate change on coastal communities,” “the politics of climate change,” or “innovative solutions to combat climate change.”
# Freewriting: Set a timer for 15 minutes and write about a personal experience related to climate change. Maybe you once lived in a city that experienced a severe heatwave, or you’ve seen the effects of melting glaciers on a family vacation. Reflect on how this experience affected you and what questions or ideas it sparked.
# Mind Mapping: Start with the central idea of climate change and branch out to related topics like renewable energy, carbon emissions, and climate activism. Consider how you might develop these topics into a cohesive essay.
# Reading and Researching: Read articles and essays on climate change to get a sense of the latest research and debates. Take notes on interesting ideas or arguments that you come across, and consider how you might add to this conversation in your own essay.
# Personal Experience: Reflect on personal experiences that have led you to care about climate change. Maybe you grew up near a polluted river, or you’ve witnessed the effects of extreme weather firsthand. Consider how these experiences might inform your essay.
# Current Events: Read about recent developments in climate change policy, such as the [[w:Paris Agreement|Paris Agreement]] or the [[w:Green New Deal|Green New Deal]]. Consider how you might approach these topics from a unique angle, such as exploring the role of grassroots activism in shaping policy.
# Analyzing Texts: Read works of fiction or nonfiction that address climate change, such as Margaret Atwood’s ''[[w:The Year of the Flood|The Year of the Flood]]'', or Bill McKibben’s ''[[w:The End of Nature|The End of Nature]]'', or William Wordsworth’s “[[The World Is too Much with Us]].” Consider how these authors approach the topic and how you might build on their ideas in your own essay.

{{CompFAQ-foot}}
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[[Category:Basics (FAQ)]]

CompFAQ:Topic

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CompFAQ:Topic

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{{SHORTDESC:Choose a Strong, Focused Topic}}
{{CompFAQ/Nav}}

{{See also|CompFAQ:Ideas}}

{{dc|T}}{{start|he '''topic''' of an essay refers}} to the specific aspect or focus of the subject that the essay is addressing. The '''subject''', on the other hand, is the general area or theme that the essay is about.

For example, if the subject of an essay is “climate change,” the topic could be “the impact of climate change on sea levels,” “the role of carbon emissions in climate change,” or “strategies for mitigating the effects of climate change.”

In other words, the subject provides the '''broad area of focus''' for the essay, while the topic '''narrows the focus''' to a specific aspect or angle within that subject.

It’s important to identify both the subject and the topic when planning and writing an essay, as they help to guide the overall focus and organization of the piece.

A '''strong topic''' for an essay is one that is specific, interesting, and relevant to the assignment or purpose of the essay. Try to choose a topic that is unique and hasn’t been extensively covered in previous research or writing.

Examples of essay topics could include:
* The impact of social media on mental health among young adults.
* The effects of climate change on ocean ecosystems.
* The portrayal of gender roles in contemporary literature.
* The history and significance of jazz music in American culture.
* The ethical implications of gene editing technology.

Note, too, that each of these examples could be narrowed even further so as to be covered more easily in a shorter essay. A '''narrow or focused topic''' allows for a more detailed and thorough analysis, making it easier to develop a strong argument or [[CompFAQ:Thesis|thesis]]; for example:
* The impact of Instagram on body image perception among teenage girls.
* The effects of ocean acidification on coral reefs in the Great Barrier Reef.
* The representation of femininity in the works of Sylvia Plath.
* The influence of Louis Armstrong on the development of jazz music in the 1920s.
* The ethical implications of using CRISPR gene editing technology to alter human embryos.

These topics are more specific and focused than the previous examples, allowing for a deeper exploration and analysis within the scope of the essay.

For strategies on developing a strong topic, see [[CompFAQ:Ideas]].

{{CompFAQ-foot}}
{{DEFAULTSORT:Topic}}
[[Category:Basics (FAQ)]]

Category:Basics (FAQ)

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{{CompFAQ/Nav}}
College writers should have some basic knowledge of essay writing, such as the purpose of an essay, the different types of essays, and the components of an essay. They should also have a basic understanding of grammar and mechanics, including sentence structure, punctuation, and spelling. Additionally, they should have some experience with research and the proper citation of sources.
{{div col|colwidth=20em}}
# [[CompFAQ:Essay|What is an essay?]]
# [[CompFAQ:Topic|How does a “topic” differ from a “subject”?]]
# [[CompFAQ:Topic|What is a strong topic for an essay?]]
# [[CompFAQ:Ideas|Where do I go for essay topic ideas?]]
# [[CompFAQ:Purpose|What is meant by “purpose” in an essay?]]
# [[CompFAQ:Getting Started|What’s the best way to organize my thoughts before writing?]]
{{div col end}}

[[Category:CompFAQ]]

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