Page 72 - Aldi Lukman Nurhakim_How to Write Critical Esays: A Guide for Students of Literature
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Planning an argument  71
               Another popular ritual for limbering up before the essay
             makes any pretence of performing its specific task, is a
             generalized claim to be thinking:
                  The statement made in the above essay title certainly
               raises some important issues.

                  In order to discuss whether this quotation is appropriate
               or not, it is necessary first to decide exactly what it means.
                  There is no quick and easy answer to this question which
               can only be resolved after careful consideration of some
               specific passages.
             Truly considerate critics keep such musings to themselves. At an
             early stage of preparation, they start thinking in more precise
             terms, defining exactly what the ‘important issues’ in this case
             are, and choosing the ‘specific passages’ which will be most
             illuminating. What they later share with the reader in an
             opening sentence is a stimulating idea about just one of these
             issues or passages. Their essays begin not by asserting
             thoughtfulness but by demonstrating it in the careful definition
             of a particular thought.
               You can usefully aim for an opening idea that is so peculiarly
             apt to the set question’s demands that, unlike the weak
             examples above, it could only be used to introduce the specified
             topic. But first sentences which just restate the title are useless.
             That is the one piece of information which your reader
             indisputably has in mind already, having just read it at the top
             of the page. Here is a question followed by the opening of a
             feeble answer:

               What is there in the poetry of the 1914–18 War besides
               decent human feelings of outrage and horror?
                  To suggest that First World War poetry is merely used as a
               vehicle to express outrage about the long-drawn-out war and
               to depict with horror the anguish of the battlefield limits the
               works to being little more than protest poetry and anti-war
               propaganda.

             Here the title’s concepts are regurgitated rather than
             discussed. Some terms are simply repeated (‘outrage’,
             ‘horror’). Others are translated by synonyms which may
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