You are welcome to choose one of the Streetcar Named Desire essay topicswhich are represented below.

Streetcar Named Desire Essay Topics

• “Desire” is used throughout the play, both literally and figuratively. At the end of Act II, Blanche tells Mitch that Desire is the opposite of death. Explain her use of desire.
• What does Williams’s depiction of Blanche and Stanley’s lives say about desire?
• Traditionalism versus defiance in the Streetcar Named Desire.
• Morality and Immorality in the Streetcar Named Desire and in the Picture of Dorian Gray.
• Are there symbolic meanings suggested by the names of places (e.g. Desire, Elysian, Cemeteries) in the play? If so, explain the symbolic meaning.
• The plot of A Streetcar Named Desire is driven by the dueling personalities of Blanche and Stanley. What are the sources of their animosity toward one another?
• Blanche’s “world” is often contrasted to the world of Stanley’s and Stella’s. Blanche firmly states the kind of world she wants: “I don’t want realism. I want – magic!” In what way is Blanche’s world an illusion? Is it any less real than Stanley or Stella? What defines reality in A Streetcar Named Desire? What defines illusion?
• A Streetcar Named Desire can be described as an elegy, or poetic expression of mourning, for an Old South that died in the first part of the twentieth century. Expand on this description.
• At the end of the play, Blanche is taken away to an asylum. Do you believe she is insane? If she isn’t, what defines her sanity? Do you think she is responsible for her circumstances?
• Describe the use of light in the play. What does its presence or absence indicate?
• How does Blanche’s fascination with teenage boys relate to her decline and fall?
• Compare and contrast Mitch to the other men in the play.
• Compare and contrast Blanche and Stella.
• Describe the relationship between Stanley and Stella. Since Blanche and Stella are sisters and share the same background, why do you think one sister is so attracted to Stanley and the other so repulsed by him? Can you find out a pattern in their marriage? Why is the word “animal” used on them?
• From the beginning of the play to the end it presents a sexual tension. Describe the presence and influence of sexual desire that you see in the first three scenes. Does the attraction between Mitch and Blanche seem different from the attraction between Stanley and Stella?
• The play includes many stage directions referring to music. What music and songs are present in the first three scenes (e.g. “the blue piano” and polka)? What is the significance of that music? In what ways is it symbolic? How does the music relate to the characters
• Blanche drinking problems. Why does she drink? What is she nervous about?
• Can you explain the dynamics of Blanche’s encounter with the newspaper boy? Why does Blanche flirt with him?
• What does Blanche want from Mitch? Is she honest with him? Describe their relationship. Is Mitch an aristocratic southern gentleman? If not, provide examples to support your answer. Do they love each other? How is their relationship different from the relationship between Stanley and Stella?
• Music is as much a part of A Streetcar Named Desire as the dialogue. It is often argued that music acts as a second dialogue within a play. Blanche explains her relationship with her husband. What does she unexpectedly learn about him? How does she respond to this? What does her husband do? How does Blanche respond to his death? Does this explain why the polka music repeats in her mind? What does this music symbolize for Blanche?
• Why did Blanche have so many “intimacies with strangers” (118)?
• Blanche and Stanley are alone in the apartment. Why is Stella not present? Blanche again mentions Shep Huntleigh. He, too, has taken on a symbolic meaning for Blanche. What does he represent to her? Why does she tell Stanley a lie about Shep Huntleigh? What does Stanley mean when he asks Blanche, “Shall we bury the hatchet and make it a loving-cup”? Why does Blanche say no?
• At the end of the play, Blanche is taken away to an asylum. Do you believe she is insane? If she isn’t, what defines her sanity? Do you think she is responsible for her circumstances?
• What do you think is the symbolic meaning of the Mexican woman selling flowers for the dead in scene nine?

Source: http://www.goodessaytopics.com/streetcar-named-desire-essay-topics.html

Undoubtedly, you’ll benefit from writing your essay on one of The Crucible essay topics. All the below-listed topics are at your disposal. So choose one of The Crucible essay topics, which seem the most suitable for you, and develop it in the format of the essay.

• Discuss the role that grudges and personal rivalries play in the witch trial hysteria.
• How do the witch trials empower individuals who were previously powerless?
• How does John Proctor’s great dilemma change during the course of the play?
• Compare the roles that Elizabeth Proctor and Abigail Williams play in The Crucible.
• What role does sex, and sexual repression, play in The Crucible?
• Why are Danforth, Hathorne, and the other authorities so resistant to believing the claim that Abigail and the other girls are lying?
• What kind of government does Salem have? What role does it play in the action?
• Analyze Reverend Parris. What are his motivations in supporting the witch trials?
• Discuss the changes that Reverend Hale undergoes in the course of the play.
• Compare and contrast the Salem Witch Trials and McCarthyism.
• Understand the living conditions in Massachusetts in the 1700s.
• Examine the dynamics of Puritanism in 1692.
• Gather historical perspectives of American Colonial period.
• What is your perception of the girls’ allegations in the play? Do they really believe in witchcraft or are they fabricating the events?
• Is John Proctor a tragic figure? Compare his fate to that of such tragic literary figures as King Oedipus in Sophocles’s Oedipus Rex and the title character in William Shakespeare’s Hamlet.
• Examine the historical facts regarding the Salem Witch Trials and Joseph McCarthy’s hearings. In what ways does Miller employ these facts in the service of his drama? How do the two historical events compare to…
• What was witchcraft? Who practiced it?
• Describe the social response to witchcraft in Europe in the 16th and 17th centuries.
• What social and religious factors are given to account for the harsh response to witchcraft?
• What can you find out about modern witchcraft or Wicca?
• Compare and contrast the characters of Rebecca Nurse and John Proctor.
• Discuss Miller’s treatment of women in The Crucible.
• Explain why the play is a tragic comedy.
• Explain the symbolic characters and how they develop the themes.
• Discuss how the themes of The Crucible make it both universal and enduring.
• What is the function of Reverend Hale in the play?
• Miller originally wrote The Crucible as a critique of McCarthyism, but he distanced his narrative by using the Salem witch trials as the setting for the play. Discuss the strengths and weaknesses of this approach.
• At the end of the play, John Proctor recovers his sense of goodness by tearing up the confession that would have saved his life. Given his character and the events which have led up to this moment, do you find this act believable? Fully explain your response.
• In The Crucible, Miller suggests that sacrifices may be necessary to restore the social order. Discuss the sacrifices made by the play’s characters and whether you think they are necessary.
• How does the title relate to the story?
• In The Crucible Arthur Miller is making pointed comments about individuals and how we should operate in society’. Discuss with reference to the text.
• How are the characters tested and brought down to their essence?
• What three characters are responsible for the trials and why?
• How does the Crucible portray justice or injustice?
• Compare the character of Elizabeth Proctor to that of Mary Warren. What value systems does each represent?
• Discuss Elizabeth’s reaction to John’s infidelity. Is she being unreasonable?
• How are the “little crazy children jangling the keys of the kingdom”?
• What is Giles Corey’s role in the play?
• Examine Elizabeth Proctor as a symbol of truth. How has her husband “paid for” this truthfulness?
• What motivates Elizabeth to lie? Is a good name more important than the truth?
• How is Mary Warren used by both sides? Does she have an individual identity?

Source: http://www.goodessaytopics.com/the-crucible-essay-topics.html

Select a particular scene in Hamlet (preferably a short one) and discuss its importance in the play. How does this particular part of the action contribute to significantly to our response to what is going on? what might be missing if a director decide to cut this scene?

My scene is Act 5 Scene 1: Suicide scene of Ophelia~ the scene contributes to our response of death~ her action contributed to Laertes’ revenge on Hamlet (the sword battle) which also lead to the death of Hamlet’s mother and step father Claudius.

Song used: Bleeding love – Leona Lewis
Program used: Sony Vegas Pro. 8
Pictures: Google images.

-Cheers
-Jack Qu

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The Renaissance began in the fourteenth century in Italy. It spread to other European countries at a slower rate, not flowering in England until the sixteenth century.

Secondary Source: The Civilization of the Renaissance in Italy, Jacob Burckhardt.

The Development of the Individual: In Italy, the long struggle between Pope and Holy Roman Emperor (a German since the collapse of the Roman Empire at the hands of the barbarous Germanic invaders) prevented the development of a central power in Italy. Innumerable urban authorities (city states) existed but were constantly at war with each other. The Pope moved for safety reasons out of Italy to Avignon, France early in the fourteenth century. At the same time,the Emperor was distracted from Italian affairs by his worries with other European countries: Spain remained disunited and involved in its long struggle with the Moors; France speedily became engaged in the Hundred Years’ War with England, and was internally divided as well. The outcome for Italy approximated what today would be called a political vacuum . . . The freeing of Italy for roughly two centuries from either a native sovereign or any significant interference from without (Holy Roman Emperor) is given as the cause for the remarkable energy that was invested in inner political struggles and individual development. Dante, Leonardo da Vinci.

The more frequently the governing party was changed, the more the individual was led to make the utmost of the exercise and enjoyment of power . . . Dante . . . finds a new home in the language and culture of Italy, but goes beyond even this in the words, “My country is the whole world.”

Antiquity, the “new Birth”: it was not the revival of antiquity(interest in the ancient world, Greek and Roman) alone, but its union with the genius of the Italian people, which achieved the conquest of the Western world.

There were medieval scholars and monasteries that copied the classics and kept them alive, “but the great and general enthusiasm of the Italians for classical antiquity did not display itself before the fourteenth century. For this a development of civic life was required, which took place only in Italy, and there not till then. It was needful that noble and burgher should first learn to dwell together on equal terms, and that a social world should arise which felt the want of culture and had the leisure and the means to obtain it.” In short, the rise of the middle class, the merchant class,created new wealth and powerful men who had the money and the free-time to study, read, and commission art and the building of great houses.

The Humanists, Scholar-poets:

Boccaccio writes a defense of poetry, the proof that the poetry of the ancients and of their modern followers contains nothing mendacious, the praise of it, and especially of the deeper and allegorical meanings which we must always attribute to it, and of that calculated obscurity which is intended to repel the dull minds of the ignorant. (Augustine)

Italy in the sixteenth century was overrun by foreign armies and lost not only its freedom but the Renaissance culture that it had achieved. But this ruin, Burckhardt believes, was prepared by the Italians themselves. “It cannot be denied,” he writes, “that Italy at the beginning of the sixteenth century found itself in the midst of a grave moral crisis, out of which the best men saw hardly any escape.”This crisis was caused by the excess of that very individualism he so admired and felt to be the key to Renaissance culture: “The individual first inwardly casts off the authority of a State which,as a fact, is in most cases tyrannical and illegitimate . . . The sight of victorious egotism in others drives him to defend his own by his own right arm.”

Out of the individualism of the Renaissance there would grow a sense of moral responsibility in modern man: “But this individual development did not come upon him through any fault of his own, but rather through an historical necessity. It did not come upon him alone, but also, and chiefly by means of Italian culture, upon the other nations of Europe, and has constituted since then the higher atmosphere which they breathe. In itself it is neither good nor bad,but necessary; within it has grown up a modern standard of good and evil — a sense of moral responsibility — which is essentially different from that which was familiar to the Middle Ages.”

The legacy which the Renaissance was to leave to the future was not without ambiguity: it was more a summons to responsibility than a release from restraints.

http://ftp.ccccd.edu/andrade/BritLitI2322/RenBurkhardt.html

Passus VIII of William Langland’s Piers Plowman presents a search–which becomes a journey within the journey of the entire text. Here the narrator, Will, describes an inner pilgrimage–one that takes its shape in a religious context, but plays itself out through everyday life and the notion of self. The medieval traditional notion of pilgrimage involves the physical journey to a religious shrine as a means of obtaining, through journey and arrival, a revelation of religious and sacred integrity. The connotations of pilgrimage, however, stretch far beyond the actual physical act–a pilgrimage is “the physical symbol of [an] eternal goal” (Davidson and Dunn-Wood 13). The expanse of pilgrimage in medieval terms also envelops the understanding that “within or alongside this spiritual journey…was an intellectual journey as well, a quest against error and folly for truth and wisdom, which ultimately amounted to the knowledge of God” (Bowman 5). But pilgrimage goes even beyond that, in that it requires an absolute journey into the self with the goal of discovering that which gives the individual a context in which to exist.

The stage is set for journey in the opening line of the passus by Will, who says, “Thus robed in russet I roamed about/ A whole summer season searching for Do-Well.” The establishment of Do-Well as the goal creates the context through which this particular pilgrimage must be understood. And it must also be understood that Will does not know what (or who) Do-Well is: “And I asked very frequently of folk that I met/ If anyone knew where Do-Well made his home”; he knows only that he feels that he should search for such an existing concept (Passus VIII, L 3 – 4). Do-Well is understood in four parts. Do-Well encompasses Do-Well, Do-Better, and Do-Best and counteracts Do-Evil. Do-Well is the inclination to keep from sin; it is the natural reaction of the individual to protect the soul from sin in order to obtain salvation. Langland relays this through the metaphor of an individual’s reaction to a boat rocking at sea:

Let a man be brought in a boat amid a broad expanse of water:
The wind and the water and the wobbling of the boat
Will make the man many a time fall and stand.
For though he stands ever so stiffly, he stumbles from the motion,
And yet he is safe and sound, and so it behooves him be,
For if he doesn’t arise right away and reach for the helm,
The wind and the water will overwhelm the boat.
Then the man’s life would be lost through his laziness alone.
(Passus VIII L 29 – 36)

Do-Well is the voice inside the mind that tells the individual to stand and keep balanced in the boat as a means of survival; it is the conscience, which relays the differentiation of right and wrong and is a guide toward righteousness rather than sin–the “free will” provided by God in the form of intuition. The counterpart of Do-Well is Do-Evil, a voice of temptation, of the “Fiend and the flesh and the false world” (Passus VIII L 42). The search for Do-Well, thus symbolizes a spiritual journey toward God. This journey toward righteousness is then broken into three parts—Do-Well, Do-Better, and Do-Best. The three are described in a hierarchy, which emphasizes particular levels of attainment, to which Langland relates their religious order to medieval social order. Do-Well is defined in terms of fundamental actions:

Whoever is meek of his mouth, mild of his speech,
True of his tongue and of his two hands,
And through his labor or his land earns his livelihood,
Trustworthy of his tail-end, takes only what is his,
And is not drunken or disdainful, Do-Well is with him.
(Passus VIII L 80 – 84)

This groundwork for the path to salvation is one of conscience. The attributes of one who does well represent an awareness of righteousness and of a sense of belonging to something much larger than the self. At the same time, the self is the sole vessel through which righteousness can be obtained. Do-Well is the image of God on a human scale; it is a manifestation of God in human terms–the initial connection to God. The notion that the journey does not end with Do-Well is presented contextually with the introduction of Do-Better, who “does the same, but he does much more” (Passus VIII, L 85). Do-Better is the manifestation of Christliness in human action: “He’s lowly as a lamb, lovely of speech” (Passus VIII L 86). As a messenger of the words of God, he says, “You wise ones, allow the unwise to live with you/ And with glad will do them good, for so God commands,” (Passus VIII L 94 – 95). Whereas Do-Well is about the fundamental handling of the personal self, Do-Better moves beyond the awareness of belonging to something larger than the self and he reaches out an extra hand to a level of engagemen: “While he has anything of his own, he helps out where there’s need” (Passus VIII L 87). Do-Best holds the image of man, Christ, and God:

Do-Best is above both and bears a bishop’s crozier
That has a hook at one end to hold men in good lives.
A spike is on that staff to shove down the wicked
That lie in wait devising villainy with which to vex Do-Well.
And as Do-Well and Do-Better decided between them,
They have crowned one to be king and keep watch over them all
(Passus VIII L 96 – 101)

Do-Best’s possession of a bishop’s crozier signifies a position of governance: “In the church of the New Testament the duties of the bishop were to care for the flock of God” (Davis 97). The crozier is fashioned in the form of a shepherd’s staff. The image of Do-Best as a shepherd integrates the presence of Jesus, who was not only a shepherd, but was also the “Lamb of God, which taketh away the sin of the world” (John 1: 29). But Do-Best does not reach his height taking on the image of Jesus; he reaches his height in the image of the king. Do-Best is an earthy manifestation of God, “the King of kings and Lord of lords” (Timothy 6:15). The continuation of Do-Well into Do-Better and Do-Best is key in the understanding of Will’s goal. This is the relation of the sacred to the living–the connection being a more intensive look at pilgrimage and how it shapes the daily life of humankind in the medieval ages. That Will’s search begins only as one for Do-Well signifies the continual nature and the intensity of pilgrimage. The full understanding of Do-Well as the goal of the search reveals what Mary Carruthers calls the poem “cast in terms of search for Saint Truth”—truth–“the ultimate reality, God” (Carruthers 10; Donaldson 258).

Passus VIII serves as a metaphorical journey that reveals the necessity of the pilgrimage as an individual essence that must be experienced and embodied in order to be integrated into the life of the one in search. The idea of pilgrimage can be embodied in words, but the heart of the pilgrimage can only be obtained through individual journey. Will comes upon two Friars in his journey who relate to him the story of the rocking boat when he asks them where Do-Well dwells. Will recognizes the Friars as “men of great intelligence,” acknowledging their authority and their potential to act as guides and instruments of enlightenment, like road signs marking the path of pilgrimage (Passus VIII L 9). The authority of the Friars is key to this segment of his journey, for they validate the religious framework. Will, playing the unknowing narrator, does not see how Do-Well can be where the Friars say—“He dwells among us, / And always has” (Passus VIII L 18 – 19). Will challenges the Friars’ revelation because he has been searching for Do-Well outside of himself and not within himself. He has not come to realize that his journey has already begun and is well under way. He is like a traveler who has undertaken a journey but does not recognize the path that he travels and thus looks for a landmark, like Do-Well, to mark his progress as being in the right direction. The Friars open a new door for Will and allow him to continue his pilgrimage through the allegory of the boat “likened to the body” as a “means of discovering invisible and ineffable truth through images and analogies of visible things” (Passus VIII L 41; Carruthers 10). The Friars relate the presence of Do-Well and Do-Evil within each person’s mind, but Will claims that he does not fully understand: “I have no natural knowledge… to understand your words” (Passus VIII L 57). In saying that he has no “natural knowledge,” Will establishes the terms of his pilgrimage. In his state of search, he has not yet obtained “experiential knowledge—whether interiorly or exteriorly derived,” which, at that point, defines the new perspective of his pilgrimage (Donaldson 254). The words of the Friars are just that—words. Words are not experience and cannot be internalized as such. “Ancient and medieval views of language begin with the premise that words are signs,” but they are not the essence of what they say, they only derive from it (Carruthers 12). The “cognitive value of language,” is in the allegory and must be interpreted through a context of the language of the life of man, not only the words of man (15). In De doctrine christiana, Augustine distinguishes between the word and experience:

Thus in this mortal life, wandering from God, if we wish to return to our native country where we can be blessed we should use this world…so that the “invisible things” of God “being understood by the things that are made” [Rom. 1:20] may be seen, that is, so that by means of corporal and temporal things we may comprehend the eternal and spiritual.
(Augustine I. 4. 4.)

Will acknowledges this medieval doctrine and hones his understanding of search. He says to the Friars, “I have no natural knowledge…to understand your words, / But if I may live and go on looking, I shall learn better” (Passus VIII L 57 – 58). The Friars have told Will of the landmark–Do-Well–but Will reasons that he must see it for himself to know that the pilgrimage is valid. This is the undertaking of experience: pilgrimage is life and life is the process of search.

With an understanding of pilgrimage, Will comes to dream. The dream is woven into the pilgrimage, providing an alternative method of exploration. He has resumed his search for Do-Well after his departure from the Friars:“Thus I faired far and wide trying to find Do-Well”–when the sound of birds sends him into sleep (Passus VIII 63). The dream can be seen as an element of Augustine’s “this world,” serving as an element of connection to the Otherworld. Langland immediately confirms this notion in the transition from waking life to dream state, with the use of birds as the agents of metamorphosis:

The merry melody of birds made me abide,
And on a lea under a linden I lay down a while
To learn the lays the lovely fowls made.
Mirth of their mouths made me go to sleep.
The most marvelous dream came to me then
(Passus VIII 64 – 68)

The symbol of the bird is key to the context of the dream: “The flight of birds leads them, naturally, to serve as symbols of the links between heaven and earth” (Chevalier and Gheerbrant 86). The movement into dream is portrayed as a lesson of “the lays the lovely fowls made”– the sounds of the birds marking the first appearance of the divine language of dream, as birds are messengers of a heavenly order.

That Will arrives at the dream alone and speaks of it in first person narrative–“as I went by a wood, walking alone”–reveals the personal nature of the dream and the personal nature of the interpretation and relay as provided by Will (Passus VIII 63). Dream visions are to be perceived “in the light of one’s own psychological, aesthetic, and philosophical frame of reference” (Knapp 5). Here dreams are clearly a vehicle to connect the individual to a higher order. The human body is an able vessel for the translation of divine order into a worldly manifest and tangible language. Dreams are to be taken as a whole on a scale much larger than the individual; they are to be understood “as eternal and universal frescos” (6). As the Friars have told Will that God, as Do-Well, “dwells among us, and always has,” the dream presents itself as a parallel to understanding the inner nature of the pilgrimage and the body as the instrument of pilgrimage that already possesses the qualities necessary for the journey.

The vernacular of the dream reinforces the notions of self and the connection to divine order. The personal nature of the dream in the context of the religious is emphasized in that the man who appears and speaks to Will is a paradigm of Will himself: “A large man who looked to me much like myself/ Came and called me by my Christian name” (Passus VIII 70 — 71). This context creates the parallel between Will as a man of the worldly realm and his dream counterpart, Thought, as a spiritual guide. The dream is representative of a spiritual journey because by calling Will by his Christian name, Thought establishes a context of religion in the address. As the Friars shaped a sense of authority in their shared wisdom, the dream assumes an authority of the religious order as well.

Will and Thought are clearly two parts of the same. Will is symbolically speaking with himself–a journey or pilgrimage of the inner order. This experience is like that of the mirror: “The symbol of the divine intellect reflecting manifestation and creating it as such in its own image” (Chevalier and Gheerbrant 658). Thought, as a character, is the manifestation of the exercise of the mind. Will is having an interaction with his mind. This process is a sign of his progress in coming to understand that pilgrimage of the outer order is merely a tangible manifestation of inner pilgrimage, a pilgrimage that may be taken in sections, but is ultimately to be understood as an extensive process throughout time.

Thought reiterates what the Friars had before told Will–“Do-Well…and Do-Better and Do-Best the third/ Are three fair virtues and are not far to find”–and he moves to explain how Will’s goal is one of inner order (Passus VIII 78 – 79). Thought serves as an intermediary between man and God–God in the form of Wit. Wit is the God-given trait of reason, intuition, or natural inclination. The Friars speak of Wit as being partnered with “free will” and the character(istic) of Do-Well that give man the instinct to turn his body “about like a boat in the water,” rather than fall to the sin of the waves (Passus VIII 53, 47).

The dream of Passus VIII is a device of intellectual journey toward an understanding of intuition. The dream examines the interconnectedness of the self, society, and the divine. Dream allows the author to explore another level of understanding, one that brings man on a level with the divine and that can incorporate societal/worldly concerns into the picture: “The dream makes possible perceptions which, while anchored in the dreamer’s spiritual self, are also moral, social, and political” (Brown 36). The dream state allows an escape from the expectations and limitations of tangibility; it separates the realm of the dream from rationality. The time of Langland marked a literary movement toward dream as a device, when dreams were “to become material for and essential to the creative process. The dream enabled writers and painters to enter into a world in which deeper perceptions could be experienced and a whole new range of feelings and sensations could be known” (Knapp 16).

Langland uses the dream as a vehicle for the ability to address an issue, as “dreams are viewed as reflections of the tensions of man’s daily activities, his longings, desires, needs, and aggressions–those he is either unable or unwilling to express during his waking hours” (Knapp 10). The significance of the dream as pilgrimage is spoken of later: “Sleeping I had grace/ To learn what Do-Well is, but waking, never” (Passus XI L 408 –409). This statement reveals that, symbolically, the dream signifies that the journey into the self is the only true way to find Do-Well or the truth of God.

The relevance of this dream culminates in the introduction of Will to (his) Wit. It is only when Will connects with his wit that he will have the ability to understand and integrate the will of God—the strength to “stand and steer [his] soul” (Passus VIII 46). Will’s search for Do-Well is progressing and he is given wisdom by Thought, who says, “Unless Wit can tell you [how Do-Well, Do-Better, and Do-Best do among the people]…where those three live, otherwise no one knows that is now alive” (Passus VIII L 114 – 116). Wit is the act of recognizing the path, integrating its components, and taking conscious measures toward obtaining the enlightenment manifest in the goal of the pilgrimage. The journey must take place within oneself, as a search for the human connection to God.

The will of God must be reached through pilgrimage of which dream in Piers Plowman is only a part. The search is on the level of divine connection, seen when Thought says, “Otherwise no one knows that is now alive.” Thought refers here to Jesus, the son of God. The essence of the pilgrimage is to obtain what is perhaps unobtainable, yet it remains the goal and has throughout time. Langland unveils this universal struggle:

Therefore by color nor by clergy you’ll never come to know [God],
Neither through words nor works, but through will alone,
And no clerk knows that, nor creature on earth
But Piers the Plowman, Petrus id est Chritus (Peter that is Christ).
(Passus XV 209 – 212)

The ultimate pilgrimage of man has been an attempt to rectify the Fall, through a journey toward an attainment of oneness with God, salvation, “a Promised Land or Paradise Lost” (Chevalier and Gheerbrant 754). Will, the narrator, is a universal character in search of his connection to God.

Works Cited

Augustine. De Doctrina Christiana.

Bowman. Itinerarium: The Idea of Journey. Salzburg, 1983.

Brown, Peter, ed. Reading Dreams: The Interpretations of Dreams from Chaucer to Shakespeare. Oxford University      Press.

Carruthers, Mary. The Search for Saint Truth. Northwestern University Press, 1973.

Chadwick, D. Social Life in the days of Piers Plowman. New York: Russel & Russel, 1969.

Chevalier, Jean and Alain Gheerbrant. The Penguin Dictionary of Symbols. Penguin Books, 1996.

Davidson, Linda Kay and Maryjane Dunn-Wood. Pilgrimages in the Middle Ages: A Research Guide. New York:      Garland Publishing Company, 1993.

Davis, J.D. A Dictionary of the Bible. Michigan: Baker Book House, 1924.

Hagan, Susan K. Allegorical Remembrance. University of Georgia Press, 1990.

Hieatt, Constance B. The Realism of Dream Visions: The Poetic Exploitation of the Dream-Experience in Chaucer and      his Contemporaries Mouton & Co. 1967.

Holy Bible. Michigan: Zondervan Bible Publishers, 1990.

Kirk, Elizabeth D. The Dream Thought of Piers Plowman. Yale: Yale University Press, 1972.

Knapp, Bettina L. Dream and Image. New York: Whitston, 1977.

Langland, William. Piers Plowman. Trans. E. Talbot Donaldson. New York: W.W. Norton & Company, 1990.

Sargent-Baur, Barbara N. Journeys Toward God: Pilgrimage and Crusade. Michigan: Medieval Institute      Publications, 1992.

http://web.archive.org/web/20060621173900/http://athena.english.vt.edu/~exlibris/essays02/Blanks.html

An essay on criticism By Alexander Pope. Literary Criticism.

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If you are having trouble tackling your essay topic then we want to offer you some extra help. Here are the various types of essays out there and examples of each. Find out about your type of essay:

1.  Analysis of a Book
2.  Argumentative Essays
3.  Expository Essays
4.  Analytical Essays
5.  Persuasive Essays
6.  Informal Essays
7.  Review Essays
8.  Research Papers
9.  Literature Essays
10. Narrative Essays
11. Descriptive Essays
12. Comparison Essays
13. Cause and Effect Essays
14. Process Essays
15. Philosophy Essays
16. Public Speech Writing
17. Technical Reports
18. Literature Reviews
19. Summaries
20. Rubrics
21. 5-Paragraph Essays
22. Critical Essays
23. Classification Essays
24. Feedback Essays
25. Instruction Essays

26. Observation Essays
27. Current Event Essays
28. Evaluation Essays
29. Paragraph Essays
30. Interview Essays
31. Creative Essays
32. Poetry Writing or Essays
33. Annotated Bibliographies
34. Lab Reports
35. Journal Writing
36. Pros and Cons Essays
37. Proposal Essays
38. Response or Reaction Essays
39. Personal Essays
40. Term Papers
41. Business Reports
42. Dissertations
43. Definition Essays
44. Inquiry Essays
45. Exploratory Essays
46. Deductive Essays
47. Expository Essays
48. Scholarship Essays
49. Timed Essays
50. Division and Classification Essays

• Introduction: Be Brief; give some suggestion of the direction you intend to take in your essay. Indicate the aspects of the book you intend to deal with.
• Paragraphing: In your plan you should identify very clearly around six distinct points you intend to make and the specific parts of the text that you intend to examine in some detail. When writing your essay you should devote one or two paragraphs to each point. Try to make smooth links between paragraphs.
• Evidence: When you make a point – you must prove it. Just as a lawyer in court must produce evidence to support his case, so you must produce evidence to prove the comments you make about characters, relationships, themes, style etc. When you make a point, refer to the text. give an example to support what you say. Better still, use a quote.

• Quotes: Remember to lay out quotes correctly. Start a new line and indent like this:

  writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing:

  “quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote quote”

  writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing writing:

  Remember to introduce the quote with a colon and use quotation marks. It is important to lay out quotes correctly because it shows you are professional about what you are doing. Keep them short – no more than three or four lines each.

• Selection: Avoid the trap of just re-telling the story. The important thing is to be selective in the way you use the text. Only refer to those parts of the book that help you to answer the question.
• Answer the question: it sounds obvious, but it’s so easy to forget the question and go off at a tangent. When you have finished a paragraph read it through and ask yourself. “How does this contribute to answering the question?” If it doesn’t, change it so that it does address the question directly.
• Conclusion: At the end, try to draw all the strands of your various points together. This should be the part of your essay, which answers the question most directly and forcefully.
• Style: Keep it formal. Try to avoid making it chatty. If you imagine you are a lawyer in court trying to prove your point of view about a book, that might help to set the right tone.
• Be creative: Remember you do not have to agree with other people’s points of view about literature. If your ideas are original or different, so long as you develop them clearly, use evidence intelligently and argue persuasively, your point of view will be respected. We want literature to touch you personally and it will often affect different people in different ways. Be creative.

Checklist after writing your essay

Have you:

1. Put the full title of the question and the date at the top?
2. Written in cleat paragraphs?
3. Produced evidence to prove all your points?
4. Used at least five quotes?
5. Answered the question?

Novel essay

Theme, plot, setting, characters, style; fair divisions for any essay. Order and emphasis will depend on bias of question.

If the question is about theme, talk about it in the introduction, then discuss, one per paragraph, how the other aspects contribute to it, and conclude by talking about the success or otherwise of the author in communicating his/her theme.

Drama essay

Theme, plot, setting, characters, technique.

If the question is about technique, talk about how it affects the others-one per paragraph.

Poetry essay

Theme, style, technique (include such aspects as alliteration, assonance, versification, rhyme, rhythm, where appropriate).

THE TITLES OF PLAYS, NOVELS, MAGAZINES, NEWSPAPERS, JOURNALS (things that can stand by themselves) are underlined or italicized. Tennessee Williams’ The Glass Menagerie and Toni Morrison’s The Bluest Eye don’t seem to have much in common at first. If you’re using a word processor or you have a fancy typewriter, use italics, but do not use both underlines and italics. (Some instructors have adopted rules about using italics that go back to a time when italics on a word processor could be hard to read, so you should ask your instructor if you can use italics. Underlines are always correct.) The titles of poems, short stories, and articles (things that do not generally stand by themselves) require quotation marks.

Tools of the Trade: Subjects and Verbs

Whenever possible, use strong subjects and active constructions, rather than weak verbal nouns or abstractions and weak passive or linking verbs: instead of “Petruchio’s denial of Kate of her basic necessities would seem cruel and harsh…,” try “By denying Kate the basic necessities of life, Petruchio appears cruel and harsh–but he says that he is just putting on an act.” Don’t forget that words and even phrases can serve as strong sentence subjects: “Petruchio’s ‘I’ll buckler thee against a million’ injects an unexpectedly chivalric note, especially since it follows hard on the heels of his seemingly un-gentlemanly behavior.” And remember–use regular quotation marks unless you’re quoting material that contains a quotation itself.

In General, Avoid the Swamp of Published Criticism

Do not try to sift through the many hundreds of pounds of critical inquiry about the scene or the play. I am most interested in what you bring to the plays, not the ways in which you try to spew back your versions of what “experts” have written to get tenure or score points with other tweed-jacketed types. Honest confusion and honest mistaking are part of the learning process, so don’t try to seek out some other “authority” for your proof.

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