Page 109 - Aldi Lukman Nurhakim_How to Write Critical Esays: A Guide for Students of Literature
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108  How to write critical essays
             even be ‘ruthless and unrelenting’ in their ‘cruelty and
             viciousness’.
               In this idiom, satirists treat unjustifiable ‘pride and self-
             esteem’ to ‘ridicule and mockery’; or rebuke it, in a ‘grave and
             serious’ tone of ‘didacticism and moralizing’. They have to
             protest ‘strongly and forcefully’ since ‘collapsing standards and
             moral sickness’ are ‘increasing and expanding’. Indeed the
             ‘adequacy and effectiveness’ of ‘values and principles’ are being
             ‘challenged and questioned’. At the more ‘crucial and
             significant’ moments of literary history, saying everything twice
             may not be enough: after all, ‘the Romantics who favoured
             imagination and fantasy’ were, according to one student’s essay,
             outgunned by a three-pronged attack from ‘Augustans who
             prized knowledge, information and facts’.
               The emptiness of such treble-talk, and even of the more
             common doublings, may look relaxingly obvious when so many
             examples are removed from their original contexts and
             juxtaposed. Be warned. Pairs of virtual synonyms can infiltrate
             even the most vigilant first draft. When revising it, look
             specifically for every phrase in which ‘and’ yokes two nouns,
             adjectives, verbs or adverbs. When you find one, ask yourself:
             what is the difference between the connotations of these two
             terms? Has that distinction been explained? Or could both
             words be suspected of saying the same thing? Of course, if they
             do turn out to offer almost identical meanings, you must retain
             the more apt or vigorous term and cut the other. Here is an
             extract from an essay on Shakespeare’s Richard II:
               Unlike Richard who is so hysterical and excessive,
               Bolingbroke has the strength and ability to remove those
               who endanger the state.
             This could be expanded to distinguish the paired terms:
               Richard’s despairing speeches in Act III sound hysterical just
               as his complacent demonstration of authority in Act I looks
               excessive. The less flamboyant Bolingbroke, by contrast, has
               the intellectual strength to identify those who would
               endanger the state and enough ability as a military strategist
               to defeat them.
             The alternative is simply to prune the original down to:
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