8. Paper 3--Adding Comparison and Contrast
8.1. Module 8.1: Details
Preparation for Paper 3
English 101
Preparation for Paper 3
The general topic of the paper is: (1) the American dream, (2) its effects on one or more characters in The Great Gatsby, and (3) the differences and similarities between Jay Gatsby and Charles Foster Kane in terms of the American dream.
You need to merge Papers 1 and 2 with the new paper.
You need at least two quotes from the novel and two quotes from the film to substantiate new points that you make in Paper 3; you need to have finished reading The Great Gatsby and viewing Citizen Kane.
Don't rely on the film of The Great Gatsby. Citizen Kane, on the other hand, was originally a film script, so use the film for your analysis and quotes.
The number of quotes total will be four from Paper 2 plus four more.
Consider that your paper is about The Great Gatsby and the American dream; Citizen Kane is one segment of this paper, but the overall idea, the opening thesis statement of the paper, and the overall conclusion should be about TGG.
Evaluation Criteria 1
. Elements of Organization I.
Opening paragraph: It needs both a new thesis statement and a new organizing idea. It should be followed by a statement of significance.
V. Closing paragraph: It needs both a new summary and a new conclusion. It should end with a hint of things to come, or some of the issues left unaddressed, or a mention of implications of the ideas presented that went unnoted in the body of the paper. If you end up writing the opening and closing of the paper at the end of the writing process, after you have written most of the three-segment body of the paper, you would be right on task.
First segment body of the paper (II): II. This segment will be five paragraphs.
A. Sub-thesis that supports the overall opening's thesis and sets the main idea for this segment
B. What is the American dream in general terms? (General)
C. What is the American dream in the novel? (More specifically)
D. Relate the American dream to characters in the novel. (Even more specifically)
E. Closing Most of this segment of the paper comes from Paper 1. Be sure proofread and edit it, and to make any changes that you wish to make.
2. Methods of Development: Use description and example for this first segment of the body of the paper. Review chapters 3 and 10 in PE.
3. Mode of Order: The overall mode of order for this segment of the paper is general-to-specific; however, consider what the mode of order is for each section within the segment as well.
5. Transitions: Note: You need a very short transitional paragraph of one or more sentences to make the transition from informational level development to analysis using cause and effect development. Avoid making reference to technical terms such as information-level, analysis, cause, and effect.
Second segment part of the paper: III. This segment will be five paragraphs. A. Develop the American dream as a cause in the sub-thesis. The dream has the force to make impacts. B. What is the effect of the American dream on a character? C. What is the effect of the American dream on a second character (or a second effect on the same character as III. A.)? D. What is the effect of the American dream on a third character (or a third effect on the same character as III. A.)? E. Closing
2. Methods of Development: Use cause and effect for the second segment of the body of the paper.
3.Mode of Order: The overall mode of order for this segment of the paper is time OR importance; however, consider what the mode of order is for each section within the segment as well. Third segment of the body of the paper: IV. This segment will be five paragraphs.
A. Develop a sub-thesis on the American dream as it applies to The Great Gatsby and Citizen Kane using comparison and contrast. The purpose here is to analyze the American dream as it relates to the two main characters, Jay Gatsby and Charles Foster Kane in terms of three issues that you have chosen. When you do comparison and contrast, you need to identify two things (Gatsby and Kane) and three issues, such as the way the dream impacts them in terms of love, or women, or money, or power, or ambition, or corruption, or family (there are dozens more possible issues).
A. A sub-thesis about the two characters (what do they have in common or what differentiates them?)
B. Issue #1-related to Gatsby and then to Kane
C. Issue #2-related to Gatsby and then to Kane
D. Issue #3-related to Gatsby and then to Kane
E. Closing The new segment must have two quotes from the novel and two quotes from the film. See mechanics for details on how to do in-text citations and the works cited page.
Do not, repeat do not, use the words compare and contrast, similar and different, alike, contrasting, in your segment using comparison and contrast. Do not use sentences like "Jay Gatsby and Charles Foster Kane are alike in many ways." This kind of sentence says almost nothing because it is a truism. Instead, be specific and name the characteristic traits that they share: "Gatsby and Kane are committed to self-initiative and achievement on their own terms. They understand individual responsibility comes from their choices in life." This kind of specific language shows the similarity specifically in concrete terms. Do include a transitional phrase to introduce this five-paragraph segment of the paper, however, that might include a phrase such as "in contrast," or "similarly."
4. Mechanics:
For a passing grade, review your paper for effective mechanics.
In-text citations. List of works cited. Use of quotation marks and punctuation. Use of formal introductions to quotes.
The new segment must have two quotes from the novel and two quotes from the film. This means that in Paper 3, you must have a total of eight quotes-four from Paper 2 and four new ones for Paper 3 (two additional from the novel and two from the film).
About in-text citations from the film: You will need to make your film quotes look like this in the text of your paper: Welles shows how alienating power can be when he portrays the relationship between Kane and his first wife: “People will think what I tell them to think” (Citizen Kane). You have to cite the film without a page or line citation because there is no way at present to mark the point in the film when a line appears.
However, you need to follow MLA style. As a consequence, your works cited page must have at least two references for Paper 3-The Great Gatsby and Citizen Kane.
5. Transitions:
o Use first, second, and third, for the three segments of the body of the paper. o Use “In summary,” and “In conclusion,” in the closing.
o What transitions are you using to communicate your methods of development (description and example for II, cause and effect for III, and comparison and contrast for IV ); and your modes of order (general to specific for II, importance for III, and what mode for IV)?
Use transitional phrases that help with comparison: also, in the same manner, similarly, likewise; and that help with contrast: but, however, on the other hand, in contrast, nevertheless, still, even though, on the contrary, yet, although.
o You need a short one-sentence transitional paragraph between the information and analysis (cause and effect) levels of development and between the cause and effect and second analysis (comparison and contrast) level of development.
6. Format:
o Double space.
o Page numbering.
o Four-line heading.
o Title that hints at the thesis. o Indenting.
o Formal tone (eliminate the use of the following: “I,” “me,” “my,” “mine”; “we,” “us,” “our,” “ours”; “you,” “your,” and “yours”). Formal tone does not use these personal pronouns.
o Outline (five-sentence outline). Unnumbered page at the bottom of your paper. The outline that you turn in on the last page of your paper, un-numbered because outlines are not a part of an MLA paper, should have copied and pasted just the overall thesis statement; the three sub-thesis statements of segments II, III, and IV; and the overall conclusion.
o Length: The three body paragraphs for II, III, and IV should have about 20 sentences each. That means that the body paragraphs should be 80 sentences.
o Remember to add to that some sentences for I. A, B, and C, and V., as well as for II. A and II. E, for II. IA and III. E, and for IV. A and IV B. Roman numerals refer to your outline. Arabic numbers refer to evaluation criteria. Sample papers are available at the Reserve Desk on the second floor of the library. If you have access to West's library, please review a few of these to get concrete ideas about how to write the new segment for Paper 3.
How to get started and things to keep in mind as you write:
To start your essay, use the following phrasing: F. Scott Fitzgerald's The Great Gatsby (verb of your choice)…. Make this first sentence of the essay be your thesis statement. There is discussion in textbooks about where to place your thesis: Should it be the first sentence? Should it be in the middle of the first paragraph or at the end of the first paragraph? For this class, for the purpose of uniformity and clarity for your reader (me), make your first sentence be your thesis statement. Follow that thesis statement with your organizing idea sentences.
There should be three of these sentences, one for each five-paragraph segment in the body of the essay. The organizing idea sentences tell the reader in advance what is in the three-segment body of the paper. You probably should not try to write these organizing idea sentences (some call them advanced organizers or controlling ideas) until your paper is completed because you may not be clear about what exactly your three-segment body is about until after you have written it.
Example: This paper will demonstrate what the American dream means in The Great Gatsby. Then it will reveal some of the tragic consequences of the dream on its leading character, Gatsby. Finally, it will show how the dream corrupts Charles Foster Kane in Citizen Kane, just as it does Gatsby.
Last, create a statement of significance, which explains why this paper is important, significant, or interesting. Some call it a hook to get the reader's interest. Your topic is not a matter of life and death, yet the idea of the American dream is an important myth in American culture and history.
A Full Outline would look like this:
I.Opening:- (one paragraph)-5-10 sentences
A. Thesis statement: This is the overall main idea of the essay
B. 3 Organizing Ideas
C. Statement of Significance
II. Developed at the information level using examples and descriptions-(5 paragraph total)
A. A sub-thesis statement about the American dream (starts with “First,”) - 5-10 sentences
B. The American dream in general terms- 20 sentences
C. The dream applied to the novel- 20 sentences
D. The dream applied to characters in the novel-20 sentences
E. Closing Insert a short one-sentence transitional paragraph here-5-10 sentences
III. Developed at the analysis level using cause and effect-(5 paragraph total)
A. Sub-thesis about the American dream as a cause (starts with “Second,”)- 5-10 sentences
B. One consequence of the dream on a character-20 sentences
C. A second consequence of the dream on a character-20 sentences
D. A third consequence of the dream on a character20 sentences
E. Closing Insert a short one-sentence transitional paragraph here-5-10 sentences
IV. Developed at the analysis level using comparison and contrast- (5 paragraph total)
A. Sub-thesis about the American dream as it relates to Gatsby and Kane (starts with “Third,”)- 5-10 sentences
B. Issue #1 that relates to Gatsby and Kane (such as lost love)- 20 sentences
C. Issue #2 that relates to Gatsby and Kane (such as idealism and disillusionment)- 20 sentences
D. Issue #3 that relates to Gatsby and Kane (such as power and wealth)- 20 sentences
E. Closing-5-10 sentences
V. Ending paragraph: 5-10 sentences
A. Summary, using the phrase “In summary,” which should be three sentence long. (one for what you have said in II, one for what you have said in III, and another for IV).
B. Conclusion, using the phrase “In conclusion,” which should be a restatement of the thesis in different words and more evolved as an idea.
C. Hint of things to come.
The outline that you need to attach to your paper as the last page (unnumbered because it is not part of MLA) will look like this:
I. Thesis statement that addresses the American dream in The Great Gatsby and its consequences
II. First sub-thesis sentence that looks at the dream
III. Second sub-thesis sentence that looks at its consequences
IV. Third sub- thesis sentence that looks at similarities and differences between two men of wealth
V. Conclusion
8.2. Module 8.2:
Consider This : In P1 you wrote about what the American dream is. You used examples and descriptions to do it. You described it in general terms, you related it to an element of the plot, you related it to three characters. The thesis would have been something to do with what the dream is as it relates to the novel.
In P2 the task shifts. You retained what you wrote in P1. You added a section using cause and effects that demonstrated that the true essence of the American dream (the segment of P1) has consequences for three characters in the novel (the new cause and effects 5-paragraph segment). The thesis wold have been something about how the dream affects characters.
In P3 the task shifts again. You will retain the first and second segments of P2. You will add a new 5-paragraph segment in which you will compare Gatsby and Kane. You will do this by comparing and contrasting Gatsby and Kane in terms of three issues.
For example, one issue might be how wealth and power are elements for the two heroes in their pursuits of the dream. How do wealth and power relate to the heroes in their pursuits, what is distinct to one or the other? Is it an assistance or a hindrance, a facilitator or a barrier? Is it a means or an obstacle?
A second example might be the issue of love and how that affects the two heroes in their pursuits.
And P3 will need one more issue to complete the three-body paragraphs of the third segment of the paper.
The thesis this time will be about Gatsby specifically and about his pursuit of the American dream in terms of the three issues you choose to use in the third segment.
In order to develop this thesis in the third segment, you will compare him with Kane for the purpose, really, of understanding Gatsby more fully--not for the purpose of equally treating Gatsby and Kane in the overall thesis, not for referring to them as two primary subjects. Thus, you will not mention Kane in your thesis.
Kane's purpose ultimately is to work as a means by which you understand Gatsby more, a mirror in a sense.
For example, in national basketball history, Larry Bird and Magic Johnson are often compared and contrasted. The purpose of that development many times is to give greater insight into Magic Johnson (at least here in LA).
Here is an example of a thesis for P3:
F. Scott Fitzgerald's The Great Gatsby has a hero who is defeated in his pursuit of his American dream by his magnificent gifts of great power, consuming love, and driven self-confidence.
You may see how a thematic element created in the thesis and carried out through the three segments of P3 will be an additional means by which you develop your overall idea and by which you hold the paper together at the same time.
A thematic element is not a part of the assignment, but if a student chose to add the idea that Gatsby is doomed from the very start of his efforts, fate for example, then could be referenced throughout the three segments to help support the thesis and to help hold the paper coherent.
If a student wanted to add that thematic element of fate to the thesis listed above, it might read like this:
F. Scott Fitzgerald's The Great Gatsby has a hero who is inevitably defeated in his pursuit of his American dream by magnificent gifts of great power, consuming love, and illuminating self-confidence.
The idea of inevitability then would get played out in the essay's three segments as a matter of Gatsby's tragic fate--not a part of the thesis so much as a thematic element that gets referenced while the thesis is consciously developed by the three segments.
8.3. Module 8.3:
Sample Paper 3
Lackishnapa 1
Lachrimose Lackrishnapa
Professor Sprague
English 101, Paper 3, Section W8046
May 28, 2011
The Cost of the Unattainable American Dream
F. Scott Fitzgerald’s The Great Gatsby reveals the evasive and costly nature of the American dream and the unpredictable, sometimes catastrophic consequences of its pursuit. The elusory American dream is exemplified in the novel’s setting and the lives of its characters. The unforeseen, seemingly imbalanced, even extreme costliness of the dream’s pursuit for three characters is unfolded at the novel’s ending. The dream and its tragic effects are understood even more clearly in the life of the novel’s main character, Jay Gatsby, as he is compared to another larger than life fictional character, Charles Foster Kane. Perhaps looking at these characters pursuit of the American dream and its painful results will cause some to pause and consider their own pursuit of the dream and if there one true, real, satisfying dream that is worth all of life’s pursuit.
First, the characters in the novel pursue the American dream and, in the end, find their dreams to be tragic illusions. The American dream has been an illusion of hope shaped by the whole of American history. The American dream in the novel is also shaped by its particular setting in history and by its author’s personal life. The American dream in the novel is demonstrated in the dreams of the characters, Tom and Daisy Buchanan and Jay Gatsby. The American Heritage Dictionary gives these definitions for the word, dream, “1. A series of images, ideas, emotions, and sensations occurring during sleep. 2. A daydream; reverie. 3. A wild fancy or hope. 4. An ambition; aspiration. 5. One that is exceptionally gratifying, excellent, or beautiful.” Only one of these
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definitions describes something that actually exists in reality, and it, also, is the one dream that is exceptionally worthy.
By definition most dreams are not real; instead, they reside in the imagination. As with humankind, dreams may be noble or detestable. If they are realized at all, they are realized only in part, and they are usually costly. Also, even if partially realized, at best, dreams are fleeting; most often, they are unsatisfying; and at worst, they result in tragic consequences. So it is with the American dream. It began with a noble desire for freedom from injustice and tyranny, for equality for all and for the opportunity to pursue happiness, under God. Most people came to American in order to exercise their religious faith free from persecution and/or to improve their lot in life. Established Europe, with its fixed social structure, did not afford the opportunities that were available in the New World. Even the poorest Europeans could indenture themselves to pay for their passage to America, and when their term of seven years or so was completed, they had opportunities to, as many did, advance in this new, growing country. The American Revolution made American democracy possible and freed the American colonists from the control of and over taxation by England. The Constitution made the dream of life, liberty and the pursuit of happiness the law of the land for more Americans than had known such freedom before. In this setting, the idea of the American dream was born. Yet, even partially realized dreams are costly, and America’s growth cost the Indians their land. Later, shortsightedness and greed led to an American economy reliant on slavery. The South fought to keep their American dream, preferring to enslave and dehumanize Africans to achieve it. So it was with the Industrial Revolution which brought a new era of growth for America but at the expense of the poor working class. The American dream is inextricably tied to prosperity and the freedom to pursue it, but it comes at a high price for others.
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More specifically, the elusive American dream as seen in the novel is shaped by its historical setting and the personal life of the author. Prior to World War I, the world saw the rising of socialism, communism, and atheism. The Great Gatsby is set early in the 1920s, the Roaring 20s, the time period immediately after World War I. This was a time of prosperity in America, albeit fleeting. During this period, while the world economy was in a recession, American held recession off by overproducing consumer goods. This created a temporary boon to the American economy but was unsustainable and resulted in the Great Depression a decade later (Freeman 384). The Great Gatsby
takes place in the affluent areas of Long Island and Manhattan, in the prosperous window of time before the tragic Wall Street Crash. Money flows easy like their champagne and no one knows yet what awaits them around the bend. The host of characters in the novel indulge in momentary pleasures of all kinds thinking that they are free from consequences. They indulge at the expense of another, namely the host of the extravagant parties they attend, Jay Gatsby. They have no care for the man, only curiosity. They display no gratitude. When it comes time to pay their respects at their accommodating host’s funeral, only one of his hundreds of guests attends. Even the mooching house guest of Gatsby can’t manage to inconvenience himself and forgo a picnic in order to pay his respects. The author of the novel, F. Scott Fitzgerald, wrote the novel about his own generation based on his own dreams and life experiences. The setting, the characters, their circumstances, and their dreams parallel his own. Fitzgerald was obsessed with money, drinking, glamor, partying, and leisure as many of his characters are. His highest obsession was with love. He, like his main characters, came from the Midwest and had dreams of money, success and love. When Fitzgerald’s college love affair ended, he flunked out of college. Of course, his love couldn’t have been with just any woman, she had to be one of the great beauties of his time, desired by flocks of men, just as Gatsby’s Daisy was. Fitzgerald’s next love, Greta, also like Daisy, was a desirable beauty from a
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wealthy family in the South. Greta threw over Fitzgerald for his lack of money, as Daisy did to Gatsby, and Fitzgerald had to use his talents to come up with quick success and cash to win her back and marry her, as Gatsby tried to do with Daisy. As so many of Fitzgerald’s characters have tragic ends, so did he. Unappreciated in his later years, but working on a comeback, Fitzgerald died at the early age of 44, most likely due to the effects of his alcoholism (“F.Scott Fitzgerald”). Fitzgerald had big dreams, but underneath, he doubted that they were achievable.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—to-morrow we will run faster, stretch out our arms farther….And one fine morning¬--¬-
So we beat on, boats against the current, borne back ceaselessly into the past (Fitzgerald 180).
Furthermore, the elusiveness of the American dream, its costliness, and its sometimes tragic consequences is exemplified in the individual dreams of Tom Buchanan, Daisy Buchanan and Jay Gatsby. Tom Buchanan’s dream is to get what he wants when he wants it with no concern for others. Buchanan has all that people would call the realization of the American dream—wealth, possessions, social status, health, leisure and, last but not least, a beautiful wife and daughter. Yet, Buchanan also wants poor Mr. Wilson’s wife as his mistress. As if this isn’t cold-hearted enough, Buchanan repeatedly leads on unsuspectingly Wilson that he will sell Wilson the car that Wilson greatly desires to resell at a profit. This is like a dream for Wilson, and Buchanan knows that Wilson hopes to use the meager profit to somehow regain his wife’s affection. Because Wilson’s wife is Buchanan’s mistress, Buchanan has no interest in helping Wilson by selling him the car. Later, seeing Wilson’s despair over learning that Wilson’s wife has been having an affair (although Wilson doesn’t know with whom), Buchanan’s heart moves a little so that he consoles Wilson by agreeing to finally
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sell Wilson his car. However, shortly afterward, Buchanan manipulates Wilson to kill Gatsby. Killing Gatsby serves multiple purposes for Buchanan such as getting Gatsby out of his own wife’s life; paying Gatsby back for Gatsby’s impudence in trying to steal Buchanan’s wife and for Gatsby’s presumed heartless murder of Buchanan’s mistress, Myrtle. In manipulating Wilson to kill Gatsby, Buchanan has his purposes fulfilled. So what, if getting what he wants costs Wilson and Gatsby their
lives? Then there is Daisy who is certainly an illusion of a dream. Daisy’s appeal is beauty, a melodious voice and laugh, good family connections, wealth, and being desired by many men. However, Daisy has no occupation except for vapid leisure, drinking, and speaking nonsense; her only dream is to continue to do so with as much ease as great wealth can provide. Daisy’s only concern is Tom’s chronic adultery. Gatsby returns to her life, as from an odyssey, with great wealth and extravagant displays of his undying love for her. However, monogamous love is not Daisy’s true
dream, for if it were, she would have thrown over her philandering husband for Gatsby who obviously adores her and whom she once, apparently, cared for. Instead, Daisy throws Gatsby over and remains with Tom. Last, there is Gatsby’s great dream. It appears that the object of Gatsby’s enduring love is Daisy, and she is, in part. However, Daisy has little to commend her as an object of epic love. One reason is that marrying Daisy, one desired by many men of social standing, would crown Gatsby’s achievement of the social equality he had been striving for since boyhood with his schedule and resolves. But there is another, deeper reason for Gatsby’s relentless pursuit of Daisy.
He talked a lot about the past, and I gathered that he wanted to recover something, some idea of himself perhaps, that had gone into loving Daisy. His life had been confused and disordered since then, but if he could once return to a certain starting place and go over it all slowly, he could find out what that thing was… (Fitzgerald 110)
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Gatsby hoped that by regaining Daisy, he could regain that part of himself that he lost when he fell in love with her. Ultimately, Gatsby’s great dream is to find himself.
The American dream developed from a desire for freedom, equality and prosperity which was partially realized--particularly during periods of economic growth--by some and at great expense to others. The American dream as seen in the novel, is shaped by its period in history and, often
paralleling the author’s own life, is one of self-indulgent excess with credit terms paid a decade later by the Great Depression. The dreams of Buchanan, Daisy and Gatsby reveal that the American dream is as unique as the individual and yet common in its elusiveness, costliness, and sometimes tragic results. None of the novel’s characters realizes his or her dream, and, in the end, each experiences a tragedy resulting from the pursuit of their dream.
Second, while there is a cost to pursue the American dream that cost can be unpredictable and seemingly terribly imbalanced. The prices paid by Nick Carraway and Jordan Baker for the pursuit of their dreams are somewhat equitable; they each learn something from their experiences and realign their dreams accordingly. Tom and Daisy Buchanan, the real villains of the novel, seemingly are unaltered by their experiences. Jay Gatsby and George and Myrtle Wilson pay the ultimate price for pursuing their dreams.
The pursuit of the American dream for Nick and Jordan concludes with a kind of equitable balance for each; however, one concludes for good and the other, not really. Nick left the Midwest to establish his adult life in the East, a place he thought had more excitement to satisfy his restlessness. Nick starts a career and applies himself to be successful in it. Following his father’s advice, fairly regarding others is also part of Nick’s dream. “Reserving judgments is a matter of infinite hope…[because] a sense of the fundamental decencies is parceled out unequally at birth”(Fitzgerald 2). Nick is a decent man and his dreams are decent. What turns out to be costly for
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Nick is the emotional toll his choice of companions wages on his life. However, in the end, Nick learns from these costs, he reassesses his dream, and realigns it for the better based on what he has learned. Once the fog recedes from his dreams of life in the East and he sees the ugliness of life there, Nick determines that his dreams of decency and morality are better found in the reality of his Midwest home. Nick perceived the people he met in the East as predators and called them “foul dust” who floated in the wake of Gatsby’s dreams. Nick was sick of these careless, selfish people and came to view his romantic interest, Jordan, as one of them. After Daisy’s negligent accident which killed Myrtle, instead of Jordan being sick of it all as Nick was and desiring to leave the Buchanan house, Jordan beckons Nick to come in and join her. In that moment, Nick saw Jordan as one of them (this group of selfish, careless East-Eggers), and from then on he wanted nothing more to do with her. Like Nick, Jordan’s life wasn’t dramatically altered, she came away mostly impacted by a broken heart. She was shallow, occasionally lied and cheated to get what she wanted, and enjoyed the company of people like the Buchanans. However, she wasn’t soulless as Myrtle and the Buchanans seemed to be. Jordan expressed genuine compassion for others, for instance Daisy. And, like Nick, Jordan evaluated the results of her dream and realigned her dream accordingly. However, unlike Nick, she assessed the results wrongly. Instead of learning from her mistakes, Jordan didn’t change except to embitter her heart, closing it off from future possibilities of love.
Tom and Daisy don’t learn, evaluate, or change anything. They end up pretty much the same, perhaps with a bit more baggage for the servants to carry when they traveled. Nick considers Tom and Daisy to be “careless people—they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…” (Fitzgerald 179). Tom wanted it all--affluence and the ease, privilege and power it purchased; possession of his trophy wife and presumably his
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daughter; his elitist social standing; and the visceral excitement he had with Myrtle. When George uncovered Myrtle’s affair, Tom was willing to let Myrtle go, but likely to only pick up another temporary lover, because he thought he was entitled to pursue anything he wanted without consequence or reservation. As a result of Tom continually indulging his selfish dream with no regard for others, Tom becomes a man of far less merit than Gatsby. Gatsby was an extraordinary man, one in a million. He rose from very humble beginnings and climbed to dizzying heights on his own merits and work (even if it was illegal work.) Tom had nothing to commend him. Tom was chronically unfaithful and did little to hide it from his wife. He had achieved nothing more than what was given to him by mere inheritance. In fact, Tom was squandering what was given to him. Tom didn’t earn, Tom spent. Tom didn’t achieve anything, Tom assumed everything. Tom didn’t give, he took what he wanted. If the novel had continued beyond the Wall Street Crash and Tom had lost his money, what would he do then? Tom is the sort of unscrupulous man who could resort to illegal work. And unlike Gatsby who was more of a gentleman crook, Tom had the makings of a ruthless one. This is the man Daisy chose to spend her life with. Daisy wanted Tom’s monogamy and love; she wanted his power to compensate for her weakness. Daisy also wanted, at least temporarily, validation of her specialness which she had in the almost boundless adoration of Gatsby. So, she was willing to enjoy Gatsby’s attentions for a time and use him to make Tom jealous. But when all was said and done, Daisy chose her chronically cheating husband to keep on in the life she was accustomed to. Daisy wanted the continuation of her easy, affluent lifestyle and social position more than anything else. Both Tom and Daisy get away with murder, accomplishing not one or two, but three murders actually. It can often seem that those who are the worst offenders escape unscathed. However, the soul sickness that is growing hideously on the inside becomes observable to others on the outside. Then, eventually decency flees them, as Nick did.
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Not only did the dreams of Myrtle and George Wilson and Gatsby not pan out, they each ended up dead! No more dreaming of happy endings for them. Interestingly, each idolized another, was blinded by love, and was unwilling to give up the object of their love. Myrtle idolized Tom and the affluent, fun-loving life she had with him, even if it was on rental so to speak. Myrtle’s dream of Tom and a life with him resulted in her unfaithfulness to her husband, greater dissatisfaction with her life, and ultimately her death. Caught by George and believing herself to be jilted by Tom, Myrtle recklessly ran into the path of the vehicle she thought Tom was driving. George idolized Myrtle. Surely Myrtle displayed signs of her true character before George married her, but apparently he was dazzled and blinded by her. Lying to himself about the outcome of such an action, George lured Myrtle into marriage under false pretenses. George’s marriage to Myrtle resulted in a terribly unhappy marriage, grief over her affair and death, and finally in his committing murder and suicide. Gatsby idolized Daisy. Gatsby had a dream of achieving a life and social standing equal to his innate talents and willingness for hard work. He was a unique man of tremendous promise. He was rising to his level legitimately while in Oxford, but his foolhardy love for Daisy caused him to throw a legitimate life away for an illegitimate one. By his exquisite personal abilities, he was able to achieve great financial success. He had always been charming but acquired social graces even if they were forced. However, due to the illegal methods he employed to make his money quickly, he lost all hope of true social standing. Gatsby traded the life and social standing he could have legitimately gained for his great dream of gaining Daisy. Gatsby’s pursuit of Daisy led ultimately to Gatsby’s murder by George who was influenced by Tom’s manipulation. Sometimes dreams are held in the hand waiting for someone, anyone, to pin them on. For these three, the illusion of their dream was more real to them than the true character of the person they idolized. Lovesick, they bet their lives on the dream and lost.
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There can be some equitable price to pay for pursuing the American dream as seen in the characters of Nick and Jordan. Sometimes that price is far too light as seen in the characters of Tom and Daisy Buchanan. And sometimes the price is exorbitantly high as seen in the characters of Myrtle and George Wilson and the exceptional Jay Gatsby. The price to be paid is unknown until the creditor comes calling.
Third, the misguided and heartbreaking American dream of Jay Gatsby, the novel’s protagonist, is more clearly understood in comparison with the dream of Orson Wells’ leading character, Charles Foster Kane, in the movie Citizen Kane. Both Gatsby and Kane soar above their humble births each in pursuit of his great dream. Each reimagines his dream due to love for a woman. And each ultimately comes to a tragic end never fulfilling his great dream. This same duplicity of the American dream is played out in countless lives.
Gatsby’s dream is a selfish one to achieve a wealthy lifestyle; whereas Kane’s dream is outer-focused to help others. James Gatz of North Dakota, had high dreams for himself early on. He had his day scheduled as a boy which included rising early, physical activity, studying science, elocution and poise. When James Gatz was in his late-teens he had very high and self-centered dreams for himself, “…grotesque and fantastic conceits haunted him in his bed at night. A universe of ineffable gaudiness spun itself out in his brain...(Fitzgerald 99). At this point in his life, Gatz changed his name and persona to Jay Gatzby as he became the companion of a rough, Western-made multimillionaire, Dan Cody. For five years Gatzby was content to travel in multimillionaire-style around the Continent with Cody on his yacht until Cody’s death. Gaztby had great promise, but no defined dream except to live an extravagant life; his dream is self-focused. As a boy, all Charles Foster Kane of Colorado wanted to do was to ride his snow sled, Rosebud, and, when he was college-age, to get into trouble. Like Gatsby, Kane also came from a humble family, but Kane
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became the owner of the sixth largest fortune in the country du to an unexpected windfall that came to his mother when he was still a boy. After college, Kane developed a very defined dream. He dreamt of running a newspaper and growing it into an empire. Kane thought of the common man and how Kane might help improve the lives of those less fortunate. Kane was outward-focused.
I am the publisher of the Enquirer. As such, it is my duty - I'll let you in on a little secret, it is also my pleasure - to see to it that decent, hard-working people of this city are not robbed blind by a group of money - mad pirates because, God help them, they have no one to look after their interests! I'll let you in on another little secret, Mr. Thatcher. I think I'm the man to do it (Citizen Kane).
Kane’s dream developed into politics later in his life. He desired to bring a gangster, Boss Jim Gettes, to justice who was controlling the city.
Each man’s dream is upset and diverted by the influence of a woman. This woman—Gatsby’s Daisy and Kane’s Susan—becomes his obsession, his new dream. After Cody died, Gatsby became an officer in the military. At this point, Gatsby met Daisy and the formation of a new dream began. “She was the first ‘nice’ girl he had ever known. In various unrevealed capacities he had come in contact with such people, but always with indiscernible barbed wire between” (Fitzgerald 148). Gatsby desired Daisy more because other men did. He slept with her thinking that was all he—a promising, yet, at present, penniless man--could ever have of her. In this act he became inextricably bound to her, yet she was not to him. Gatsby’s new dream becomes all for the possession of Daisy. A woman also upset the dreams of Kane. The polls ensured he would be elected governor and he would be able to free the state of corruption. However, unhappy in his marriage, he started a romance with a young woman named Susan. He met with her in her boarding house and listened to her play the piano. He enjoyed her company as he did not his wife’s. On the
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eve of the election, Kane is confronted by the gangster and his wife at Susan’s apartment. The gangster threatens Kane with the exposure of his affair if Kane does not concede the election. Kane’s stubborn morals will not permit this, and he loses the election, any hope of future political office, as well as his credibility in the public’s eyes. Kane’s new dream becomes all about his personal fulfillment in his relationship with Susan.
Each man dies lonely with his dream unfulfilled. Oxford could have provided for Gatsby the legitimate social standing that he now hoped to achieve through the acquisition of Daisy. His misguided, obsessive dream of Daisy leads him to give up Oxford and take up any means possible, even illegal means, to acquire fast and vast wealth—which is what Gatsby does. This illegitimacy makes his union with Daisy impossible. Blinded by love, Gatsby does not see that she won’t have him and he doesn’t see the doom that awaits him planned by Daisy’s unscrupulous husband. Gatsby’s obsession and lifestyle becomes a barrier to real connections with others. So, at Gatsby’s funeral, only a few are present and only one, Nick, was briefly close to him. Kane also gives up a promising future for an obsession with a woman. Kane hopes to regain some credence in the public eye for this by making Susan out to be a great opera singer. He goes to great lengths and expense to make this happen, but his drive cannot change the fact that she is a poor singer. This drive is for himself and not for Susan. This drive creates a wedge between them because as much as Kane irrationally wants Susan to keep singing, Susan rationally wants to quit. It is torture for her. When she tries to take her life, Kane finally relents and changes his dream for one of seclusion from the public eye to retreat into a corner in the world of his own making, Zanadu. The isolation of Zanadu is in no way Susan’s dream, and she is utterly miserable. She entreats Kane to take her to New York which he rigidly refuses to do. “Our home is here, Susan. I don’t care to visit New York” (Citizen Kane). Eventually, Susan leaves Kane. She was the last vestige of a dream for him; Kane dies alone
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in his unfinished Zanadu. He dies with a final trace of a dream left on his lips, a dream of innocence and childhood hope, “Rosebud”.periods go inside quotes: ."
Both Gatsby and Kane were men of early promise who had big dreams. Each man’s dream was revised due to their obsession with a woman. Each man lost the woman of his dream and died tragically alone. In light of the character, Kane, Gatsby’s dream is revealed to be self-centered and superficial. Although Gatsby might have achieved much, he set his sights too low.
F. Scott Fitzgerald’s The Great Gatsby is a novel which illustrates that the elusive American dream usually costs far more than the dreamers realize will be exacted. Those who pursue the dream are disillusioned to discover that it exists only in their imaginations. Then, the bill comes, and the price is unpredictable; for some it seems to cost little, and for others the cost is exorbitant, even death.
In summary, the American dream is fleeting and elusory. Its fees are seemingly inequitable, often costing much more that expected. The novels’ protagonist, Jay Gatsby, sets his sights on a selfish, empty dream costing him his life. In conclusion, there is always a price to pay for pursuing the unattainable American dream, and it is unpredictable and sometimes catastrophic in it demands.
...where is the conclusion...
There is a huge void in the human soul that seeks filling. What one believes will fill that void becomes one’s dream. As seen in the lives of this novel’s characters, dreams of money, love, social standing, ease, leisure, even the fruits of one’s hard work, don’t fill that void in the human soul. However, there is still good news, there is still one, divine dream that is real, that one and only exceptionally worthy dream. This eternally fulfilling dream comes at the highest possible cost, and that price was paid at Calvary. It is given to those who truly believe.
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Christina Leichentritt
Professor Sprague
English 101, Paper 3, Section W8046
May 28, 2011
Works Cited
The American Heritage Dictionary. 3rd ed. 1994. Print.
Citizen Kane. Dir. Orson Welles. RKO Pictures, Inc. 1941. DVD. Warner Home Video. 2001
"F. Scott Fitzgerald." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 10 Mar. 2011.
Fitzgerald, F. Scott. The Great Gatsby. 1925. New York: Scribner, 2004. Print.
Freeman, James. “The Great Depression”. History The Definitive Visual Guide. Ed. Adam Hart-Davis. New York: DK, 2010. 384. Print.
Christina Leichentritt
Professor Sprague
English 101, Paper 3, Section W8046
May 28, 2011
Outline
I. F. Scott Fitzgerald’s The Great Gatsby reveals the evasive and costly nature of the American dream and the unpredictable, sometimes catastrophic consequences of its pursuit.
II. First, the characters in the novel pursue the American dream and, in the end, find their dreams to be tragic illusions.
III. Second, while there is a cost to pursue the American dream that cost can be unpredictable and seemingly terribly imbalanced.
IV. Third, the heartbreaking American dream of Jay Gatsby, the novel’s protagonist, is more clearly understood in comparison with the dream of Orson Wells’ leading character, Charles Foster Kane, in the movie Citizen Kane.
V. In conclusion, there is always a price to pay for pursuing the unattainable American dream, and it is unpredictable and sometimes catastrophic in it demands.
8.4. Module 8.4:
Sample Paper 3
Instructions: A sample paper for your information.
...i've underlined the major titles of the novel and the film in this paper a bit, but you can see that your opening reference to the novel is not underlined. ...this is a simple but essential requirement....
Harvey H. Harfigleburger
Robert Sprague
English 101, Paper 3
May 28, 2011
Paper 3
Corruption Overshadows the American Dream
F. Scott Fitzgerald's The Great Gatsby reveal the hero to be cleared, determined, unapologetically direct as he finds the sweet spot between strength and will although defeated in his pursuit of his American dream. Jay Gatsby is consider to be a hero due to the fact that he “is the American self-made – indeed, self-invented – man. He believes in the American dream of success…; he fulfills it; he confuses it with Daisy; he is betrayed by it (preface xi).” He learns too late to alter the tragedy, he set in motion. When the moral fiber of people diminishes with wealth, it creates an illusion. The rich somehow tend to get removed from reality. They are often careless in the way they live their lives.
First, the American dream has different meaning for different people. For some it is achieving success and power. Others it is the fulfillment of owning a home to raise their families. While over time the American dream has changed as the world changed. During the rolling 20’s era, times were good. There were opportunities to get good paying jobs. As the prospect of attaining wealth was realize one of the dreams of the working man was to have a wife, house with a white picket fence, and two obedient children. Others took the opportunity to venture into the dark side of society and capitalize on prohibition and make their money on the sale of alcohol, although it was illegal at the time. The American dream was what you make it. It could be attending a prestigious university and graduating with a law degree. Upon graduation securing a job with a well known law firm that would lead to success, power and prestige. The American dream was one of the main reasons many immigrants fled or left their countries. They wanted the good life. Have the opportunity to live where they wanted and to live the American dream by owning their own business. This gave them hope that their children will have a chance to get a good education, worship where they choose, and have endless possibility to be and do whatever they wanted to. Others, to them the American dream was not necessarily being wealthy. They just wanted to be able to put food on the table, clothes on their children’s back, and be happy. To have wealth does not necessarily mean one will be happy. It is the way they acquire wealth. The potential of realizing the American dream is what the individual define it to be. The American dream is hope, expectation, and love, wealth, having the ability to live life to the fullest. Take chances on satisfying whatever the American dream means to each individual.
In the novel The Great Gatsby, F. Scott Fitzgerald reflects upon a man concept of the American dream to win the women that he loves. He would do whatever method necessary to accomplish his dream. The message in the novel is that a rich man cannot survive alone. In the pursuit of the elusive American dream, the wealthy are often corrupted by the ease their money has provided them. The wealthy tend to get remove from reality. They tend to lack moral consciousness; and they are often careless in the way they live their lives. It dealt with how wealth corrupted some of the characters. How low individuals were ready to stoop to fulfill their selfish ambitions in their quest to achieve the American dream. Once wealth is obtained the people attitudes changed of not being responsible for their own actions. They feel responsibility is for the lower and even the middle class. There is no remorse whatsoever for their actions. The rich in this novel are portrayed as snobs who use people for their own pleasure and are often unpredictable and destructive in nature. There is no honor among the rich. Also, the novel shows what length the rich and the poor will go to achieve and maintain their dream. Fitzgerald paints a literary picture of Jay Gatsby, a man who uses whatever scheme when pressured to commit unscrupulous deeds to complete the illusion that he was a man of means. These acts are to support his vision by any means possible. Gatsby’s integrity is challenged throughout the novel. It relates how a person not having the luxuries of life, pain stakingly go through trials and tribulation as well as deception of having the dream – the women he so eagerly desired. While on the other hand the author relates how a person who has everything, suffers by losing his or her most prized possessions. Overall, the rich are equipped with an indifference to pleasure or pain.
One of the characters Daisy Buchanan is an example of how a person is willing to give up their desire and trade happiness to maintain their status quo in society. Daisy Buchanan is consumed in her richness. She has the elite charm but lacks substance and basic sincerity. She has no control over her life. She has no empowerment from within. Although, she has the means, she does not use it to enrich her life. As a result, she just drifts aimlessly through life with no apparent direction. She has a dire need to be taken care of, which explains why she could be aware of her husband’s infidelity but choose to ignore it. Daisy could love Gatsby enough to have an affair with him. However, she would never leave Tom for him. Tom was the epitome of wealth to her while Gatsby was not on her social aristocratic level since he was not born into money. Daisy’s moral carelessness was ultimately displayed with the fact that she did not tell Tom the truth about the accident that killed Myrtle. In addition, she had caused an innocent man to be murdered by mistake. She could ignore this tragedy for the sake of her own selfish happiness and greed for the sake of maintaining her status quo. Daisy becomes irresponsible as a result of having money. With all the time she spends with Gatsby, and how much she “loves” him, Daisy cannot take responsibility for her actions. “I did love him once – but I loved you too (p.140).” Here Daisy seems to be irresponsible on choosing which man she really wants to be with when confronted by them. As Gatsby was so impetuous to declare his love for Daisy he says to Tom, “I’ve got something to tell you, old sport, - (137).” “Your wife doesn’t love,” “She’s never loved you. She loves me (137).” She anticipates this response will take some of the tension off of her and place it on Tom and Gatsby. She may have been personally demoralized and traumatized to the point that she no longer has the emotional, mental, or physical strength that would allow her to fight back. Daisy will survive, often at great cost to her; over adapting in order to be accepted, putting up with harassment in a loveless marriage, and hiding or denying the resulting stress. This is painful and costly for Daisy to have her morale impaired by her husband cruelty and to deal with her discomfort for the sake of money. The crux of the matter is the practical and ethical ramifications of this very true statement are worth considering why Daisy would want to stay somewhere she’s not happy even though this may be her definition of achieving the American dream.
In summary, the American dream has varies definition for each individual. The novel gives the author definition of the American dream thru the main he created. It also tells us what a person with wealth is willing to do.
In conclusion, this segment allows each person to examine what is the American dream. It provides a general description of what the American dream may be. It explores the endless possibility that a person can achieve based on their interpretation of achieving the American dream. The American dream has different meaning for different people. As the novel illustrates in the pursuit of the elusive American dream, the wealthy are often corrupted by the ease their money has provided them. The message in the novel is that a rich man cannot survive alone. The consequence of the American dream as it relates to the character Daisy Buchanan is that she is willing to give up desire and trade happiness to maintain the status quo in society.
Second, F. Scott Fitzgerald made it evident that in achieving the American dream the rich kills for profit, politics or desire as exemplified through the characters. People come to America to fulfill dreams and hopes. They want to be able to reap of the abundant harvest that this country is known for, the land of opportunity. Even though some come to this country illegally, they are all looking for the same thing. According to Wikipedia, the free encyclopedia, “The American Dream is a national ethos of the United States in which freedom includes a promise of the possibility of prosperity and success. In the definition of the American Dream by James Truslow Adams in 1931, "life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement" regardless of social class or circumstances of birth.” The dream has the force to make impact on the lives of individuals and families. Additionally, communities are also impacted. The blight caused from the high vacancy of homes being unattended is wreaking havoc on the value and price of homes. Every day, on the News there is talked about the number of homes that are in foreclosure. This epidemic of people losing their homes and even walking away from them not only affect the lower and middle class, it is also affecting those of means. The dream of owning a home was a crowning success for blue and white collar workers. This was a symbol of prosperity. Now it is a symbol of broking promises, predatory lenders preying on homeowners who did not have the ability to purchase a home in the first place. Today, it is not uncommon to hear about a foreclosed homes being mysteriously set on fire or vandalized. People are losing hope, crime is going up and the number of people seeking homelessness assistance is also going up. It is not hard to believe that the rich in their pursuit to maintain their wealth will be willing to do some unscrupulous things to hold on to their status. For example, look at the case of Bernie Madoff a former stock broker and investment advisor who was sentenced to 150 years in prison as a result of his investment scheme.
The effect of the American dream on the character Tom Buchanan is that he was willing to kill to keep his wife Daisy which, he consider her as his possession in a addiction he was a liar and cheap. Also it made him a selfish individual just like Bernie Madoff. He was all for himself and did not care who he hurt or stepped on. He took pride in being brutal and arrogant to those around him. He felt with his wealth that he could do anything. He was married to Daisy but he was having an affair with another woman named Myrtle. His selfishness made him boastful since he felt that all of them, Gatsby, Myrtle and her husband to be “below him. He did not see his wife Daisy as a human being but rather as another prize possession. He considered her as one on the same level as his horses. He did not really love Daisy as a husband should. He continued to remain in a loveless marriage; Tom could not fathom the possibility of losing his property to another man. Selfishness and greed are powerful characteristic traits. When one has wealth they tend to ignore the “little man”. Tom has a lot of material things but it still is not enough. Although he knows about Daisy and Gatsby seeing each other, he was not willing to let he go. His love for her had nothing to do with it. No one was going to take away his woman. It is all right for him to have an affair and be deceitful. He laughed and talked with Gatsby when in the back of his mind he was plotting how to get rid of Gatsby, his competition. Through his selfishness and wanting to hold on to the dream, he uses Wilson to murder Gatsby. He feels no remorse whatsoever for his actions. He remains happy and content on the pedestal he has place himself upon.
The effect of the American dream on daisy is that she had total disregard for human life. Daisy was affected by the American dream in that she was consumed by her riches. Daisy wanted and needed in high society. She is willing to be humiliated by her husband Tom who openly admits to his extra-marital affair. She chose to ignore it. She has no control over her life. She has no empowerment from within. Although, she has the means, she does not use it to enrich her life. Daisy wanted love and affection. She wanted to feel as though she had some self-worth. She reached out to Gatsby by having an affair with him. She loved Gatsby but her consumption for wealth far over shadow her love for Gatsby. She used Gatsby and was just as deceitful as her husband Tom. As long as Gatsby could give her material goods, and appeared to have the wealth she so desired she was willing to continue seeing him. However, she would never leave Tom for him. Tom was the epitome of wealth to her while Gatsby was not on her social aristocratic level since he was not born into money. Daisy lack of morals is exemplified when she runs over Myrtle and kills her. She was more than willing to allow Gatsby to take the responsibility of her irresponsible behavior. She killed another human being, a friend of hers and was not willing to tell her husband the truth about the car accident. She also caused an innocent man to be murdered by mistake. She could ignore this tragedy for the sake of her own selfish happiness and for sake of maintaining her status quo. The saying “the root to all money is evil” and Daisy is a prime example of this. The effect of the American dream on her was that she trade love and happiness for money.
The next character that was affected by the American dream was Gatsby. His dream was to be with the women that he loved. He allowed the dream to engulf him. As the underlying theme that runs throughout the book that money can help fulfill the abstract ideas of some of the characters. Gatsby was a murderer, he became a touchier and use deceit and unscrupulous ways to acquire his dream. That sufficient wealth will enable one to attain whatever it is that they desire. However, in the long run sufficient wealth may not fulfill the dream. Wealth can also cause a person downfall when reality is shrouded and corrupt. Gatsby left home to get away from his father. He was ashamed of his father. He was a poor farm boy. He believed in illusion and had created an illusion for himself. He was wealthy and was living his illusion which in the end was a sad commentary to his life. He wanted to seek his fortune but instead he got caught up in a time of moral disregard. Gatsby had high expectations of himself and those around him which brought about an internal conflict. This conflict and his inability to change with the time ultimately sealed his fate. After finally realizing and admitting to all the deceptions, lies, covering up the murder of Myrtle that all along he had achieved the American dream but, failed to recognized it. Gatsby lost sight of his dream. Even though his dream was to be with Daisy the woman that he loved, he forgot about himself. He lost it all in the end and not even Daisy would attend his funeral.
In summary, the effect on Tom Buchanan, Daisy Buchanan, and Gatsby is that they were willing to kill to protect there wealth. They each were deceitful and willing to lie to guard there hierarchy in society. Also each was affected in different ways but they all were infamous and dishonorable people.
In conclusion, the effect on the American dream on Tom, Daisy, and Gatsby seemed to be based on murder, politics, profit, desire, selfishness, greed and wealth. Each person is responsible for their own fate. The American dream can affect you in different ways. Whether it is positive or negative the person must take responsibility for accomplishing their dream. “The dream has the force to make an impact, as depicted how each character was effected.”
Third, Orson Wells, Citizen Kaneunderline your titles of major works... uses figurative language to personify the importance of wealth. Here is an individual who may have never been concern about money. He has felt free to do as he pleased, but his wealth caught up with his action, and now it will be wealth that will make him pay for his actions. The money is seen as the executioner and represents the passage of happiness to unhappiness. It takes him back to his past as he ponder when he was a young child living at home how happy he was. Now as an adult he is bitter and finds himself a lonely wealthy reclusive.
The way an individual assesses his or her own worth can be expressed in different ways. As Gatsby and Kane is distinctive in what they have to say and conduct themselves. In the motion picture Citizen Kane, the main character Charles Foster Kane is described on how he valued himself. He was so caught up with himself that he failed to see how others may perceive him. His self-love and arrogance were depicted by the building of “Xandu”, which he had created so that his greatness would be magnified. He believed that this city within a city would outlast time and anyone that looked and visit it would know just how great a person he was. However, his assessment of his self –worth was not what the people saw. What they saw was an arrogant and tyrannical person. What was to be conveyed was not. On the other hand Gatsby was not born into wealth but through his ambition and turn of events in his life he manages to rise to a man of means. His intense love for the woman of his dreams was meaningless to that woman without money to provide for her. Gatsby is superficial. He puts on the great surface. He has no social skills, and is obsessed with Daisy, he feels incomplete. He lives through her. Gatsby is a dreamer and a romantic. Morally he is questionable. He does not fit the social hyperbole. Although he gave parties and the people came and had a good time they were still were mindful of this mystery man. The people viewed him as a social outcast. But since he had wealth, their lack of morality and ethics allowed them to turn the other way and did not question his unscrupulousness.
In order to live the desired lifestyle survival requires resources. The individual must interact with others who control the resource understanding the consequences and importance of strategy and tactical maneuvers. Such is the case of Mr. Thatcher in Citizen Kane as he reminds Kane that he does not know anything about running a newspaper. Kane responded, “I don’t know how to run a newspaper Mr. Thatcher you are talking to two different people. As Charles Foster Kane is a scoundrel, his paper should be run out of town…On the other hand I am the publisher of the Inquirer. Such is my duty and pleasures, to see that decent hard working people in this community are not rob by money mad pirates just because they don’t have anybody to look after their interest (Citizen Kane).” In the newspaper business the delivery of news is judged by ethics: the value system of what is right and wrong, fair or unfair, just or unjust. Like the old saying “to thine own self be true,” indicates that a person has to be honest and fair at all times. Be respectful of their opposition and audience. Convey a sense of business ethics based on the individual standards and those of society. Kane refused to listen to reason. He stood by himself. No one needed to make a decision for him. He still thought he was the people champion. They would believe in him. Kane talked about the people as though he owned them. In Gatsby case he exemplifies the corruption indicative of wealth. He lives in an elusive world that he created for himself. His vulnerability is that he put all his energy into creating a world for the love of his life. He had high expectations of himself and those around him which brought about an internal conflict. This conflict and his inability to change with the time ultimately sealed his fate. Gatsby was willing to reach out to the horizon. Daisy made his innermost light shine. As long as he can see the light at daybreak, he did not care if he died at dusk. So many people never see the light. Gatsby had been in the dark trying to be what others wanted him to be. He now sees the light that there is more to life than wealth.
Gatsby and Kane selection and sequence of words make it possible to understand the way the words are meant to sound. They help create the image of what was to take place. How the focus on the people involved in their lives was on wealth and power. Their American dream had a different meaning for each of them. For Gatsby life is a chance, some people have good luck others bad luck and each one has a designated hour when their time (luck) will run out. The life that Gatsby and Kane led came about in full circle. Their pride, error in judgment, failure to see outcome and consequences of deeds (reversal of their actions) and recognizing that their lives might have turned out differently, which is now far too late. Their grief could have been avoided, had they not been so blind to hear the truth. Although, they had achieved the American dream, the path they chose to take, their ruthlessness and their determination to have it all came crashing down and they both died a sad an alone death. The sled and snow globe as seen in the motion picture Citizen Kane are the elements that cannot be separated from Kane as a whole. The effect of Kane last word prior to his death and the hissing sound he made as though the air is slowly leaving his body when he whispered the word “Rosebud (Citizen Kane)” gave a chilling feeling of his lost. It is as though the past and present were abruptly cut off, like the man’s’ life. The image that emerged is time and wealth is the execution and time has run out. Time has also run out for Gatsby as Nick Carraway reflects, “I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it (189).” The green light was the element that cannot be separated from Gatsby. He “believed in the green light, the orgastic future that year by year recedes before us (189).” It’s now in the end that he felt fulfilled that Daisy still loved him even though he had nothing. For it to have meaning one must have love and someone to share it with. In seeking the dream Gatsby could have been a different man who offered his wealth for the good of others.
this closing of the third segment must have different transitions...the comment applies throughout the paper for each segment's closing: you save "in summary" and "in conclusion" for the paper's closing and not for each segment's closing. Nonetheless, each segment does need its own closing, just use different transitions for it. Otherwise, you have too many conclusions...In summary, Gatsby and Kane were both scoundrels. The influence of wealth caught up with their actions, and now wealth will pay for their actions. In the end, wealth destroyed their lives.
In conclusion, the use of figurative language to personify the importance of wealth helps to demonstrate the difference as well as similarities of the two heroes, Gatsby and Kane. The focus is on is how they viewed the world around them. The meaning of self-worth is explored. The dream is define by the individual and examined by others.
In summary, overall all persons as well as F. Scott Fitzgerald have their own definition of what the American dream is. The characters behavior depicted in the novel reflects the effect of the dream, and what length they would go to achieve it. F. Scott Fitzgerald, The Great Gatsby and the motion picture Citizen Kane by Orson Well the main character Gatsby and Kane are both dishonorable man believe that having wealth gave them power and they did not have to be accountable for they action. Having wealth oftentimes make the person(s) believe they have power and do not have to be accountable for their actions.
In conclusion, overall F. Scott Fitzgerald's The Great Gatsby and Orson Welles' Citizen Kane reveal the heroes to be cleared, determined, unapologetically direct as they find the sweet spot between strength and will, although they will be defeated in their pursuit of the American dream. The choices that were made by each character came about in full circle. Their pride, errors in judgment and choices sealed their fate. However, the final examination is not to let anyone take away one’s self-esteem. Always stand by one’s principle and let your conscience be a guide. As the dream will be explore and argue in the future weather the dream is vague or elusive.
Work Cited
Fitzgerald, F. Scott. The Great Gatsby. New York: Macmillan, 1992, (Preface xi, 137, 189) Print
From Wikipedia, the free encyclopedia, American Dream. Retrieved May 10, 2011, from:
http://en.wikipedia.org/wiki/American_Dream,
Producer, (Orson Wells), & Director, (Orson Wells). (May 1, 1941). Citizen Kane [Motion picture]. United States: Mecury Theatre and RKO Pictures
Outline
I. F. Scott Fitzgerald's The Great Gatsby reveal the hero to be cleared, determined, unapologetically direct as he finds the sweet spot between strength and will although defeated in his pursuit of his American dream.
II. The American dream has different meaning for different people.
III. In the novel The Great Gatsby, F. Scott Fitzgerald made it evident that in achieving the American dream the rich kills for profit, politics or desire as exemplified through the characters.
IV. Orson Wells, Citizen Kane uses figurative language to personify the importance of wealth.
V. In conclusion, overall F. Scott Fitzgerald's The Great Gatsby and Orson Wells, Citizen Kane reveal the heroes to be cleared, determined, unapologetically direct as they find the sweet spot between strength and will, although they will be defeated in their pursuit of the American dream. The choices that were made by each character came about in full circle. Their pride, errors in judgment and choices sealed their fate. However, the final examination is not to let anyone take away one’s self-esteem. Always stand by one’s principle and let your conscience be your guide. As the dream will be explore and argue in the future weather the dream is vague or elusive.
8.5. Module 8.5: Method of Development: Comparison and Contrast
Comparing and Contrasting
What this handout is about
This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”
Introduction
In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.
Recognizing comparison/contrast in assignments
Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:
• Compare and contrast Frye’s and Bartky’s accounts of oppression.
• Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
• Contrast Wordsworth and Coleridge; what are the major differences in their poetry?
Notice that some topics ask only for comparison, others only for contrast, and others for both.
But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:
• Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
• How do the different authors we have studied so far define and describe oppression?
• Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
• In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?
You may want to check out our handout on understanding assignments for additional tips.
Using comparison/contrast for all kinds of writing projects
Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.
Discovering similarities and differences
Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:
To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered. Here’s an example, this time using three pizza places:
Pepper’s Amante Papa John’s
Location
Price
Delivery
Ingredients
Service
Seating/eating in
Coupons
As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?
Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.
Two historical periods or events
When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant? What kinds of work did people do? What kinds of relationships did they have? What did they value? What kinds of governments were there? Who were important people involved? What caused events in these periods, and what consequences did they have later on?
Two ideas or theories
What are they about? Did they originate at some particular time? Who created them? Who uses or defends them? What is the central focus, claim, or goal of each? What conclusions do they offer? How are they applied to situations/people/things/etc.? Which seems more plausible to you, and why? How broad is their scope? What kind of evidence is usually offered for them?
Two pieces of writing or art
What are their titles? What do they describe or depict? What is their tone or mood? What is their form? Who created them? When were they created? Why do you think they were created as they were? What themes do they address? Do you think one is of higher quality or greater merit than the other(s)—and if so, why? For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
Two people
Where are they from? How old are they? What is the gender, race, class, etc. of each? What, if anything, are they known for? Do they have any relationship to each other? What are they like? What did/do they do? What do they believe? Why are they interesting? What stands out most about each of them?
Deciding what to focus on
By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:
• What’s relevant to the assignment?
• What’s relevant to the course?
• What’s interesting and informative?
• What matters to the argument you are going to make?
• What’s basic or central (and needs to be mentioned even if obvious)?
• Overall, what’s more important—the similarities or the differences?
Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Calson type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.
Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.
Your thesis
The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so she/he doesn’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”
Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:
Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.
You may find our handout constructing thesis statements useful at this stage.
Organizing your paper
There are many different ways to organize a comparison/contrast essay. Here are two:
Subject-by-subject:
Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.
The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.
A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.
Point-by-point:
Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.
If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.
There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.
Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.
Cue words and other tips
To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help her/him out with some extra cues. The following words may be helpful to you in signaling your intentions:
like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.
For example, you might have a topic sentence like one of these:
• Compared to Pepper’s, Amante is quiet.
• Like Amante, Pepper’s offers fresh garlic as a topping.
• Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.
Some additional websites about comparison/contrast papers
http://www.fas.harvard.edu/~wricntr/documents/CompAnalysis.html
http://depts.washington.edu/pswrite/compare.html
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8. Paper 3--Adding Comparison and Contrast
8.6. Module 8.6: Using Comparison and Contrast
Instructions: For Paper 3, add a comparison and contrast segment using Block Style.
Writing Effective Comparison or Contrast Essays
A Comparison or Contrast essay is an essay in which you either compare something or contrast something. A comparison essay is an essay in which you emphasize the similarities, and a contrast essay is an essay in which you emphasize the differences. We use comparison and contrast thinking when deciding which university to attend, which car to buy, or whether to drive a car or take a bus or an airplane to a vacation site.
In this section, two classic organizational patterns of a comparison or contrast essay will be discussed. One is called block arrangement of ideas; the other is called point-by-point or alternating arrangement of ideas. Suppose you are interested in showing the differences between vacationing in the mountains and vacationing at the beach. You will then write a contrast composition. One way to arrange your material is to use the block arrangement which is to write about vacationing in the mountains in one paragraph and vacationing at the beach in the next. If you mention a particular point in the mountains paragraph, you must mention the same point in the beach paragraph, and in the same order. Study the following outline, which shows this kind of organization. The introductory paragraph is followed by the mountains paragraph, the beach paragraph, then the conclusion; the fully developed essay is just four paragraphs.
Block Arrangement (four paragraphs)
I. Introduction in which you state your purpose which is to discuss the differences between vacationing in the mountains or at the beach
II. Mountain
A. Climate
B. Types of Activities
C. Location
III. Beach
A. Climate
B. Types of Activities
C. Location
IV. Conclusion
A second way to organize this material is to discuss a particular point about vacationing in the mountains and then immediately to discuss the same point about vacationing at the beach. This is called point-by-point or alternating arrangement. An outline of this organization follows.
Point-by-Point or Alternating Arrangement (five paragraphs)
I. Introduction in which you state your purpose which is to discuss differences between vacationing in the mountains or at the beach
II. First difference between mountains and beaches is climate
A. Mountains
B. Beach
III. Second difference between mountains and beaches are types of activities
A. Mountains
B. Beach
IV. Third difference between mountains and beaches is the location
A. Mountains
B. Beach
V. Conclusion
Application: Block or Point-by-Point
Examine the comparison or contrast essays that follow, and decide whether the authors used block arrangement or point-by-point (or alternating) arrangement. Notice how other authors structure their essays. Five paragraphs or four? Block arrangement or point-by-point arrangement? Noticing these things will help you become a better, more conscious reader and writer.
Vacationing at the Beach or in the Mountains
People are always looking forward to their vacation period. There are many options where to choose. I think that the two most common places people choose for taking a vacation are the beaches and the mountains. Both places offer a variety of fun activities. The beach offers activities that the mountain cannot offer and vice versa. The mountain and the beach are totally different. The purpose of this essay is to contrast the climate, types of activities and locations of beaches and mountains.
I’m going to discuss mountains first. The three aspects I’m going to discuss are climate, types of activities and location. Climate is always important in order to enjoy vacations. If a person dislikes cold weather, he or she might have a hard time in the mountains. The cold climate in the mountains is the first barrier to enjoying them, but the climate and the temperature of these zones also determine the types of activities they offer. Snow boarding, mountain climbing, mountain biking, hiking, and skiing are some activities people can enjoy when going to the mountains. There are many regions that have mountains where people can go and have a great vacation. Canada is a country located in North America and contains many mountain vacation sites where people can go and have fun.
I’m going to discuss the beach second. The three aspects I’m going to discuss are climate, types of activities and location. Warm climate is one of the most important features that the beach has. Sun and fun are two words that describe the beach. The temperature in those places is always hot. The sea and the warm climate determine the activities that are available at the beach. People can swim, play volleyball, play soccer, and ride water bikes. In most coastal sites, there are discos and restaurants where people can dance or party throughout the night. Mexico offers many amazing coastal sites to visit. Acapulco and Cancun are two of the most beautiful and famous beaches in the word.
It doesn’t matter what place a person decides to choose. The fun is 100% guaranteed. People often choose one of these two options to spend their vacations. Depending on what the person likes is what he or she will choose. I like the beach better than the mountains, but sometimes it is better to take a risk and try a different place to enjoy. (399 words)
Is the essay above organized using block or point-by-point arrangement of details? Note first the essay is four paragraphs, (1) an introduction, (2) a paragraph about vacationing in the mountains, (3) a paragraph about vacationing at the beach, and (4) a conclusion. This is the block arrangement, the first block containing information about mountains and the second block containing information about the beach.
The following essay contrasts eating fresh foods and canned foods. Is its organization block or point-by-point? How many paragraphs does it contain? How many "differences" between fresh foods and canned foods does the author discuss?
Consuming Fresh Foods Instead of Canned Foods
Eating is an activity that we as humans do at least two times a day. We live in a world where the variety of food is immense, and we are responsible for what we eat. We decide what we are about to eat and how it will affect our bodies. The purpose of this essay is to compare and contrast the differences between eating fresh foods instead of canned foods. The three main differences are flavor, health benefits, and cost.
The most notable difference between these two kinds of foods is their flavor. Fresh foods have great flavor and taste because they keep all their natural conditions. Canned foods however, lack a lot of its flavor characteristics because there are some other chemical products added to the natural foods. It is logical that the fresh foods will have a greater taste and flavor when consumed just because of the time in which they have been prepared.
Comparing both types of foods we notice another difference. There is a health factor that affects both of them. Canned foods lose some of the original fresh food nutrients when stored, and also it has to be tinned with many conservatives and chemical factors that prolong the shelf life and apparent freshness of the food but could also become toxic if consumed too often.
Yet another difference between these two types of foods is the cost. Canned foods are much more expensive than fresh foods. Here the benefit of buying tinned foods is that they are easier to find, for example, in a supermarket instead of the market like the fresh foods, and they require less work to prepare than fresh foods, just open and serve.
Here are the main three differences between buying fresh foods and buying canned foods. As we can see it comes down to a personal choice, based on the time each person has, the money and the importance he/she gives to his/her nutrition and health. Therefore it is important that you consider your possibilities and choose the best type of foods for your convenience and lifestyle. (347 words)
The essay above is the "classic" five paragraph essay that all non-native speakers of English should learn to write. This essays also contains the "classic" point-by-point organization, each point stated and developed in a single paragraph. The essay contains five paragraphs that contrast three differences between fresh and canned foods. The essay includes (1) an introduction, (2) the development of the first difference (flavor), (3) the development of the second difference (health benefits), (4) the development of the third difference (cost), and (5) a conclusion. In the true classic tradition, the three main differences in this contrast essay—flavor, health benefits, and cost—are stated both in the introduction and the conclusion as well. My own observation is this: US kids are taught to organize and write five paragraph essays like this from early childhood, but they rarely attain the degree of perfection of the essay above.
This ends the first part of this page, the explanation of the differences between the classic organizational styles of comparison and contrast essays, (1) block and (2) point-by-point or alternating arrangement.
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How to Support Your Point of View though Comparison and Contrast
It was stated in the first part of this paper that we use comparison or contrast in nearly everything we do. When deciding what to eat, for example, we often choose between fresh foods or canned foods, exactly as the writer above described. However, do you know the preference of the previous author? Did he state it directly? Why or why not? What other ways could this essay have ended?
An important point to remember when writing comparison or contrast essays is that many times writers use comparison or contrast to support a personal point of view. Whenever possible and appropriate, writers should support their own views. For example, the following paragraphs are from the book, Zen and the Art of Motorcycle Maintenance by Robert Persig. Note that Persig's description of the differences between riding in a car and riding a motorcycle is not neutral. Instead, Persig uses comparison and contrast to serve a persuasive aim: to show the reader why riding a motorcycle is more stimulating than driving a car (Persig, by Heffernan and Lincoln).
Which do You Prefer?
You see things vacationing on a motorcycle in a way that is completely different from any other. In a car you're always in a compartment, and because you're used to it, you don't realize that through that car window everything you see is just more TV. You're a passive observer, and it is all moving by you boringly in a frame.
On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming. That concrete whizzing by five inches below your foot is the real thing, the same stuff you walk on. It's right there, so blurred you can't focus on it, yet you can put your foot down and touch it anytime, and the whole thing, the whole experience, is never removed from immediate consciousness.
Persig's choice of travel is obvious. In a car, you are in a compartment seeing just more TV, a passing observer. On a motorcycle, however, you're in contact with it all, the real thing, the whole thing, the whole experience, never removed from immediate consciousness. In writing a comparison or contrast essay, use contrast to show your own preference, to support your own point of view, to persuade the reader which option you prefer.
How to Write an Effective Comparison or Contrast Essay: Summary
1. Know what organizational style you are using. Whether you use the block arrangement or point-by-point arrangement, you should be able to identify it. Being able to identify your organization will not only help you in the organization of your own writing, but it will also help your reader follow the points you make.
2. State your organization. Remember the "straight line of development" that was discussed in the introduction requires that you "tell your audience what you are going to tell them; then tell them; then tell them what you told them." An important objective in academic writing is clarity, and stating your organization always contributes to clarity. Err on the side of clarity!
3. Keep your audience in mind. Be sure your reader can relate to your topic. After you finish writing, read your essay from the perspective of your audience. How will they respond to your ideas? Will they understand what you have written? Will they agree with your main point? Will the support appear logical to them?
4. Say what you want to say. Write like Robert Persig did in his book, Zen and the Art of Motorcycle Maintenance. In your essay, make your preference clear as Persig did when he contrasted the difference between vacationing by car or motorcycle.
Finally, to further clarify how it would be possible to say what you want to say in your writing, consider which of the following options would YOU prefer, and why? To support your point in each essay, what characteristics would you choose to contrast, and what support would you use? Can you think of any other topics that might be fun to contrast?
A. Vacationing in Paris or taking a three-week trip down the Amazon.
B. Growing up in a small town or growing up in a large city.
C. Working for large company or running your own business.
D. _______________________________________
E. _______________________________________
8.7. Module 8.7: Organizing P3's Comparison and Contrast Segment
For Paper 3 add a comparison and contrast segment that analyzes two main characters, Charles Foster Kane and Jay Gatsby, using block format. This segment of the paper should be four paragraphs long, and it should be added to the overall paper that you have written so far:
First paragraph:
Opening--5-10 sentences
A. Overall thesis
B. Organizing idea
C. Statement of significance
II. first five paragraph segment:
5-paragraph segment using description with examples
III. second five paragraph segment:
5- paragraph segment using cause and effect
IV. third four paragraph segment:
4-paragraph segment using comparison and contrast
V. Last paragraph:
Closing--5-10 sentences
A. Overall summary
B. Overall conclusion
C. Statement of a hint of things to come
The compare/contrast essay is an excellent method to help students progress in their critical thinking and writing skills. Following is an explanation of two methods students can use when writing a comparison essay.
Two methods for writing a comparison essay are the block and the feature-by-feature methods. Use the following information about each format to help your classes write comparison essays.
I. Block Format
Introduction
Begin with a sentence that will catch the reader's interest. This might be a question, a reason people find the topic interesting or important, or something the two subjects have in common. Then name the two subjects and say they are very similar, very different or have many important (or interesting) similarities and differences.
Paragraph 2--20 sentences
The next paragraph(s) describe features of the first subject. Be sure to include examples proving the similarities and/or differences exist. Do not mention the second subject.
Make new paragraphs to avoid very long paragraphs.
Paragraph 3--20 sentences
The next section must begin with a transition showing you are comparing the second subject to the first.
For each comparison, use compare/contrast cue words such as like, similar to, also, unlike, on the other hand.
Be sure to include examples proving the similarities and/or differences exist.
Make new paragraphs to avoid very long paragraphs.
Conclusion
In the final paragraph, give a brief, general summary of the most important similarities and differences. End with a personal statement, a prediction, or another snappy clincher.
II. Feature by Feature (or Point by Point) Format
Introduction
Begin with a sentence that will catch the reader's interest. This might be a reason people find the topic interesting or important, or it might be statement about something the two subjects have in common. Review opening sentences in your English text for additional ideas.
Then name the two subjects and say that they are very similar, very different or have many important (or interesting) similarities and differences.
Paragraph 2 --20 sentences
Transitions beginning each paragraph are made by repeating ideas, phrases or words. Without transitions, the essay will sound choppy and disjointed.
Discuss how both subjects compare on feature one.
For each comparison, use compare/contrast cue words such as like, similar to, also, unlike, on the other hand.
Be sure to include examples proving the similarities and/or differences exist.
Paragraphs 3 - 20 sentences
Transitions beginning each paragraph are made by repeating ideas, phrases or words. Without transitions, the essay will sound choppy and disjointed.
Continue the pattern set in paragraph 2 discussing a new feature in the new paragraph.
For each comparison, use compare/contrast cue words such as like, similar to, also, unlike, on the other hand.
Be sure to include examples proving the similarities and/or differences exist.
Paragraph 4--20 sentences
This will be the third paragraph of the body and a third new feature in this new paragraph
Conclusion
In this paragraph, give a brief, general summary of the most important similarities and differences.
End with a personal statement, a prediction or another snappy clincher.
8.8. Module 8.8: How Is This Thesis Statement?
Instructions: Consider this advice as you develop your P3 thesis. Remember too that the overall thesis is the last sentence you should finalize before turning in your paper.
F. Scott Fitzgerald's The Great Gatsby and Orson Welles' Citizen Kane shows how one pursuing the American dream can approach money and power in contrasting ways.
In the following breakdown, the original student's sentence has been italicized to differentiate it from the commentary in bold face.
Sub-thesis statement:
F. Scott Fitzgerald's The Great Gatsby and Orson Welles' Citizen Kane you need "show" here because the subject is plural...shows how
one pursuing = consider dropping the word "one." if retained, the sentence needs editing because the subject "one" does not match well yet with "can approach."
the American dream
can approach money and power in contrasting ways.= fundamental issues here: approach money and power is not specific enough...certainly you don't mean approach stealthily, but the sentence means that...
ALSO
it is a truism to say they have contrasting ways...what you want here is the essence of what that difference is...Gatsby approaches money as a means to an end; for Kane money is the end (for example, but it needs to be added that this is not an opinion that matches well with the sources, so it is only an example)...
MOST IMPORTANT: ...don't add Kane to your overall opening thesis because the overall paper is still about the novel and the American dream...Citizen Kane is only for analysis in one segment only...
8.9. Patterns
Comparison-Contrast
Typical questions:
• "How does X differ from Y?"
• "Compare X and Y."
• "What are the advantages and disadvantages of X and Y?"
Example:
Q: "Which would you rather own—a compact car or a full-sized car?"
A: Thesis: I would own a compact car rather than a full-sized car for the following reasons: .......A......., .......B......., .......C......., and .......D....... .
Two patterns of development:
Pattern 1
Full-sized car
• Advantages
• Disadvantages
Compact car
• Advantages
• Disadvantages
Pattern 2
Advantages
• Full-sized car
• Compact car
Disadvantages
• Full-sized car
• Compact car
Useful transition words
• on the other hand
• similarly
• yet
• unlike A, B ...
• in the same way
• but
• while both A and B are ..., only B ..
• nevertheless
• on the contrary
• though
• despite
• however
• conversely
• while A is ..., B is ...
8.10. Gatsby and Kane
“Against The Great Gatsby”
by Gary J. Scrimgeour. From
Criticism
, VIII (Winter,
1966), 75-86. Wayne State University Press. Reprinted in
Twentieth Century Interpretations of The Great Gatsby
,
Ernest Lockridge, Ed. (Prentice-Hall: Englewood Cliffs,
N.J., 1968).
When a narrator is also a character, with all that this
implies of personality, individuality, and responsibility,
we readers are forced to be more alert. We must
question the accuracy of the narrator’s account. When
he makes judgments, we have to decide whether his
special interests betray the truth and whether the
meaning of each particular event and of the whole fable
differs from the interpretation he offers. In
Heart of Darkness Conrad is highly conscious of these problems
and takes steps to solve them. Not all of the novel is in
Marlow’s words. He is presented and characterized by
another narrator. He is given a setting, and he tells his
story for an audience. He interrupts his own narrative
several times, once to comment that “Of course in this
you fellows see more than I could then. You see me,
whom you know. . . .” By thus drawing attention to his
existence as a character in the story he tells, he refuses
to allow us to ignore his subjectivity, so that it becomes
difficult to read
Heart of Darkness
without realizing that
it is not just a fable about universals but also an
interpreted personal experience.
Things are otherwise with
The Great Gatsby. The
entire novel is the narrator’s written word, and with peril
do we underestimate the significance of the change in
manner from Marlow’s oral delivery, full of hesitations,
temporizings, and polished lack of polish, to the smooth
veneer of Carraway’s public, written narrative. It is
quite legitimate to ask why Fitzgerald should follow
Conrad closely in narrative technique except for those
elements which warn us that the narrator may be giving
us a truth which is anything but unvarnished. Why
remove Conrad’s surrogate audience and inset
narrative? Why exchange the honest hesitancy of
Marlow’s manner for Carraway’s literary imitation of
charming spontaneity? Carraway is a disarmingly frank
chap, and, as with most such fellows, his self-revelations
are highly contrived. Is his opening characterization of
himself as accurate as it is influential? During the narrative
he tells us what to think of his actions, but should we judge
by what he says or what he does? It is an obvious enough
point, but it is exactly here that readers go astray and that
Fitzgerald’s artistic and ethical inferiority lie. Conrad
knew that problems would arise and provided material to
alert the reader. Fitzgerald promptly abandoned that
material and led readers to follow Carraway’s
interpretation of events without realizing that there should
be a difference, a gap, a huge gulf, between Carraway’s
and their conceptions of the affair.
***********
Gatsby’s moral error is at least as clear as Kurtz’s, and
yet we give him our sympathy. Sneakingly we like Gatsby,
while I defy anybody to
like
Kurtz. Partly this is because
of Gatsby’s adherence to the official American sexual
code, the only moral code he does obey (whereas Kurtz
has his native wife and indulges in “unspeakable rites”),
but the major reason for the difference in our attitudes to
the two men is the different reactions of Carraway and
Marlow to their heroes’ moral weaknesses. Where Marlow
ends up loathing Kurtz, Carraway specifically tells us that
he is not disgusted by Gatsby but by the mysterious “foul
dust that floated in the wake of his dreams.” Fitzgerald
provides many obscure but pretty metaphors to evoke
Carraway’s ambiguous attitude to Gatsby’s faults, and I
think he is forced into metaphor because only metaphor
will conceal the fact that the story as Carraway tells it is a
paean to schizophrenia. Carraway is not deceived, of
course, into admiring the superficialities of Gatsby’s
character and behavior; he represents everything for which
Carraway professes an “unaffected scorn.” And yet at the
same time something makes Gatsby “exempt” from
Carraway’s reaction to the rest of the world. Carraway
tells us that Gatsby’s great redeeming quality is his
“heightened sensitivity to the promises of life.” Whether
we criticize or praise Carraway for being sufficiently
young to believe that life makes promises, we should
notice at once that it is the promises—not the realities—of
life to which Gatsby is sensitive, and that Carraway is in
fact praising that very attempt to deny the past and reality
whose failure he is recounting.
***********
Were Carraway to characterize himself in a traditional
phrase rather than metaphor, that phrase would be “man
of principle.” And yet his principles are challenged by
the person who is presumably closest to him: Jordan
Baker. Early in their relationship, Carraway and Jordan
have a conversation which ends with Jordan saying, “I
hate careless people. That’s why I like you.” After the
sudden collapse of their affair, Jordan returns to this
conversation in their last interview, when she accuses
him of having thrown her over:
“Oh, and do you remember”—she added—”a
conversation we had once about driving a car?”
“Why—not exactly.”
“You said a bad driver was only safe until she met
another bad driver? Well, I met another bad driver,
didn’t I? I mean it was careless of me to make such
a bad guess. I thought you were rather an honest,
straightforward person. I thought it was your secret
pride.”
“I’m thirty,” I said. “I’m five years too old to lie to
myself and call it honor.”
Jordan is right about Carraway’s character. The crisis
of their affair reveals to her what she must have
suspected before, that Carraway is neither as honest nor
as high-principled as he might like to seem. It is
interesting to note that she accuses him of the same
“carelessness” that is the refrain in Carraway’s attack on
the Buchanans and the rest of the world. Her accusation
suggests that at least in his dealings with her he has been
as shabby as anyone else in East Egg.
And certainly his behavior with Jordan is no worse
that the rest of his personal relationships, from the girl
back home to Gatsby himself. Involved as he is with
Daisy, Tom, Gatsby, and the Wilsons, he never acts well,
just weakly. He fails to sense any obligation to avoid the
flagrant dishonesty of his position and—far from feeling
any qualms about playing either God or pander—he
actually helps the others to continue activities which he
later claims to regard as unworthy. His main principle is
to say nothing. Most important is the final falsehood
Citizen Kane (1941)
Roger Ebert / May 24, 1998
Cast & Credits
Kane: Orson Welles Jedediah Leland: Joseph Cotten Susan Alexander: Dorothy Comingore Jim Geddes: Ray Collins Walter Parks Thatcher: George Coulouris Mrs. Kane: Agnes Moorehead Emily Norton: Ruth Warrick
Directed and produced by Orson Welles. Screenplay by Herman J. Mankiewicz and Welles. Photographed by Gregg Toland. Not rated, Black & White, 119 min.
``I don't think any word can explain a man's life,'' says one of the searchers through the warehouse of treasures left behind by Charles Foster Kane. Then we get the famous series of shots leading to the closeup of the word ``Rosebud'' on a sled that has been tossed into a furnace, its paint curling in the flames. We remember that this was Kane's childhood sled, taken from him as he was torn from his family and sent east to boarding school.
Rosebud is the emblem of the security, hope and innocence of childhood, which a man can spend his life seeking to regain. It is the green light at the end of Gatsby's pier; the leopard atop Kilimanjaro, seeking nobody knows what; the bone tossed into the air in ``2001.'' It is that yearning after transience that adults learn to suppress. ``Maybe Rosebud was something he couldn't get, or something he lost,'' says Thompson, the reporter assigned to the puzzle of Kane's dying word. ``Anyway, it wouldn't have explained anything.'' True, it explains nothing, but it is remarkably satisfactory as a demonstration that nothing can be explained. ``Citizen Kane'' likes playful paradoxes like that. Its surface is as much fun as any movie ever made. Its depths surpass understanding. I have analyzed it a shot at a time with more than 30 groups, and together we have seen, I believe, pretty much everything that is there on the screen. The more clearly I can see its physical manifestation, the more I am stirred by its mystery.
It is one of the miracles of cinema that in 1941 a first-time director; a cynical, hard-drinking writer; an innovative cinematographer, and a group of New York stage and radio actors were given the keys to a studio and total control, and made a masterpiece. ``Citizen Kane'' is more than a great movie; it is a gathering of all the lessons of the emerging era of sound, just as ``Birth of a Nation'' assembled everything learned at the summit of the silent era, and ``2001'' pointed the way beyond narrative. These peaks stand above all the others.
The origins of ``Citizen Kane'' are well known. Orson Welles, the boy wonder of radio and stage, was given freedom by RKO Radio Pictures to make any picture he wished. Herman Mankiewicz, an experienced screenwriter, collaborated with him on a screenplay originally called ``The American.'' Its inspiration was the life of William Randolph Hearst, who had put together an empire of newspapers, radio stations, magazines and news services, and then built to himself the flamboyant monument of San Simeon, a castle furnished by rummaging the remains of nations. Hearst was Ted Turner, Rupert Murdoch and Bill Gates rolled up into an enigma.
Arriving in Hollywood at age 25, Welles brought a subtle knowledge of sound and dialogue along with him; on his Mercury Theater of the Air, he'd experimented with audio styles more lithe and suggestive than those usually heard in the movies. As his cinematographer he hired Gregg Toland, who on John Ford's ``The Long Voyage Home'' (1940) had experimented with deep focus photography--with shots where everything was in focus, from the front to the back, so that composition and movement determined where the eye looked first. For his cast Welles assembled his New York colleagues, including Joseph Cotten as Jed Leland, the hero's best friend; Dorothy Comingore as Susan Alexander, the young woman Kane thought he could make into an opera star; Everett Sloane as Mr. Bernstein, the mogul's business wizard; Ray Collins as Gettys, the corrupt political boss, and Agnes Moorehead as the boy's forbidding mother. Welles himself played Kane from age 25 until his deathbed, using makeup and body language to trace the progress of a man increasingly captive inside his needs. ``All he really wanted out of life was love,'' Leland says. ``That's Charlie's story--how he lost it.''
The structure of ``Citizen Kane'' is circular, adding more depth every time it passes over the life. The movie opens with newsreel obituary footage that briefs us on the life and times of Charles Foster Kane; this footage, with its portentous narration, is Welles' bemused nod in the direction of the ``March of Time'' newsreels then being produced by another media mogul, Henry Luce. They provide a map of Kane's trajectory, and it will keep us oriented as the screenplay skips around in time, piecing together the memories of those who knew him.
Curious about Kane's dying word, ``rosebud,'' the newsreel editor assigns Thompson, a reporter, to find out what it meant. Thompson is played by William Alland in a thankless performance; he triggers every flashback, yet his face is never seen. He questions Kane's alcoholic mistress, his ailing old friend, his rich associate and the other witnesses, while the movie loops through time. As often as I've seen ``Citizen Kane,'' I've never been able to firmly fix the order of the scenes in my mind. I look at a scene and tease myself with what will come next. But it remains elusive: By flashing back through the eyes of many witnesses, Welles and Mankiewicz created an emotional chronology set free from time.
The movie is filled with bravura visual moments: the towers of Xanadu; candidate Kane addressing a political rally; the doorway of his mistress dissolving into a front-page photo in a rival newspaper; the camera swooping down through a skylight toward the pathetic Susan in a nightclub; the many Kanes reflected through parallel mirrors; the boy playing in the snow in the background as his parents determine his future; the great shot as the camera rises straight up from Susan's opera debut to a stagehand holding his nose, and the subsequent shot of Kane, his face hidden in shadow, defiantly applauding in the silent hall.
Along with the personal story is the history of a period. ``Citizen Kane'' covers the rise of the penny press (here Joseph Pulitzer is the model), the Hearst-supported Spanish-American War, the birth of radio, the power of political machines, the rise of fascism, the growth of celebrity journalism. A newsreel subtitle reads: ``1895 to 1941. All of these years he covered, many of these he was.'' The screenplay by Mankiewicz and Welles (which got an Oscar, the only one Welles ever won) is densely constructed and covers an amazing amount of ground, including a sequence showing Kane inventing the popular press; a record of his marriage, from early bliss to the famous montage of increasingly chilly breakfasts; the story of his courtship of Susan Alexander and her disastrous opera career, and his decline into the remote master of Xanadu (``I think if you look carefully in the west wing, Susan, you'll find about a dozen vacationists still in residence'').
``Citizen Kane'' knows the sled is not the answer. It explains what Rosebud is, but not what Rosebud means. The film's construction shows how our lives, after we are gone, survive only in the memories of others, and those memories butt up against the walls we erect and the roles we play. There is the Kane who made shadow figures with his fingers, and the Kane who hated the traction trust; the Kane who chose his mistress over his marriage and political career, the Kane who entertained millions, the Kane who died alone.
There is a master image in ``Citizen Kane'' you might easily miss. The tycoon has overextended himself and is losing control of his empire. After he signs the papers of his surrender, he turns and walks into the back of the shot. Deep focus allows Welles to play a trick of perspective. Behind Kane on the wall is a window that seems to be of average size. But as he walks toward it, we see it is further away and much higher than we thought. Eventually he stands beneath its lower sill, shrunken and diminished. Then as he walks toward us, his stature grows again. A man always seems the same size to himself, because he does not stand where we stand to look at him.
This is a self evaluation and needs to be done after you have done your paper 3.
In a short 10-20 sentence paragraph, develop these technical points: Explain how comparing and contrasting Jay Gatsby with Charles Foster Kane helped you (or hindered you) to develop an overall thesis about the American dream as it is developed by the novel The Great Gatsby. Reflect that you understand that the use of the film was limited to adding insight into your paper whose overall purpose and thesis should be about the dream and the novel by Fitzgerald. Explain the differences in the technical methods of development: cause and effect and comparison and contrast. Apply your points to your Paper 3.
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