Page 90 - Aldi Lukman Nurhakim_How to Write Critical Esays: A Guide for Students of Literature

Making a detailed case 89
As princely lions when they rouse themselves
Stretching their paws and threatening herds of beasts,
So in his armour looketh Tamburlaine.
(I. I. ii. 52–4)
The imagery used when describing Tamburlaine consists of
constant comparison to Heaven, the Sun, gold, jewels,
tempest and the Universe.
This final list surely needs more thought. How far is the play’s
respect for the cosmic (‘Heaven’ and ‘the Sun’) at odds with its
commercial values (‘gold, jewels’)? Moreover ‘the Universe’ so
nearly suggests everything that it means almost nothing. The
major frustration, however, is that the one image quoted—that
of regal yet savage animals—fits none of the categories to
which, the student claims, ‘constant’ reference is made. Such
chasms between an essay’s argument and the passages which it
chooses to quote are disaster areas which your reader must be
spared.
You must also, of course, read again thoughtfully—and offer
observant comments upon—any extract you include from a
work of criticism. Whenever you quote a published opinion,
comment clearly to show whether you agree or disagree. Be
precise about just how far your support or scepticism goes.
Offer your own (not the critic’s) choice of evidence from the
text itself to explain why you think the published view is right
or wrong.
Your evaluation of each published view should be not only
clear but succinct. Consider these pairs of alternative
versions:

Smith’s excellent book on these poems—and I agree with it
absolutely here—suggests that:
Smith shrewdly remarks that:

I think it is useful to quote here the views of Jones, who,
contrary to all that I have just shown, claims that:
Jones perversely claims that:

In their notes to an edition of this work, Smith and Jones
offer the following comment which certainly seems relevant
at this point: