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ClassicsWrites

The web resource  ClassicsWrites demystifies the process of performing academic research and writing in the field of Classics, and covers topics including how to write a good thesis statement, how to write about artifacts, and how to do a close reading. It is a guide for undergraduates students and TFs working in writing focused courses offered by the department and the senior thesis. ClassicsWrites also guides students on their research process, including how to pick appropriate sources, and how to cite ancient sources. It was created by graduate students Sarah Eisen and Steve Shennan, and turned into a website by Sarah in 2022.

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Aims and objectives

• To introduce the intellectual and philosophical, historical, material and visual, and linguistic cultures of Greek and Roman antiquity.
• To develop the practice of interpretation across the whole range of classical study through close study of texts and artefacts.
• To introduce the variety of critical methodologies possible in the study of classical antiquity and major current trends in scholarship.
• To develop a sense of the importance of classical antiquity and its study for the modern world.
• To develop skills in writing research essays.

Scope and structure of the examination paper 2024–25

Candidates will be expected to submit two essays, each related to a different topic chosen from the following four groups: Greek and Roman philosophy (B Caucus), history (C Caucus), art and archaeology (D Caucus), and linguistics (E Caucus). The two essays must be chosen from two different groups. The topics shall be chosen from a list of suggested titles to be issued on Monday of the 8th Week of Lent term. Essays are to be submitted not later than 12 noon on the Monday of the 4th week of Easter Term.

The word limit is 2,500 words, including notes, but excluding bibliography. Illustrations may be presented under the heading ‘Illustrations’ at the end of the essays and may include figures, maps, charts, diagrams, plans and data in tables, all of these with captions. As long as captions are kept as brief as possible and are not used as a substitute for information which should properly be placed in the main text, they are not included in the word count.   Essays must be word processed (1.5 spacing) unless permission has been obtained from the Faculty Board to present them in handwritten form. The style of presentation, quotation and reference to books, articles and ancient authorities should be consistent and comply with the standards required by a major journal. Some questions will give opportunity to engage with the issues raised in the ‘Classics Now’ lectures (see below).

For each essay, students should receive a maximum of 90 minutes of supervision and only one full draft is to be read by supervisor. Students are required to declare that the submitted essay is their own work, and does not contain material already used to any substantial extent for a comparable purpose.

From 2024/25, candidates who have taken Prelim are no longer required to submit at least one essay related to a non-literary topic on which they were not examined in Prelim.

Courses descriptions

Greek and roman philosophy.

This set of lectures provides an introduction to Ancient Greek Philosophy. In the Michaelmas term we will look mainly at Plato’s presentation of the figure of Socrates, a presentation that is often inseparable from Plato’s own philosophical views. The lectures will consider how to read and interpret Plato’s ‘Socratic conversations’ philosophically and show how they can be a provocation to further philosophical inquiry.  The main texts will be Plato’s Apology , Euthyphro , Meno , Phaedo , Protagoras , Gorgias , and Symposium . Those attending the course are encouraged to read as much as possible of these in advance. A convenient translation, all in one volume, is John Cooper ed. Plato: the complete works (Hackett: Indianapolis, 1997). In the Lent term we will consider two central texts in greater detail: Plato’s Republic and Aristotle’s Nicomachean Ethics. We will consider their respective discussions of happiness and human excellence in relation to their epistemological and metaphysical views. For the Republic , see the translation in Cooper ed. (above); for the Nicomachean Ethics , see Sarah Broadie and Christopher Rowe (transl. and comm.), Nicomachean Ethics (Oxford 2002). In the Easter term we will look at two themes: the Hellenistic philosophies of Epicureanism and Stoicism and Early Greek Philosophy and Science.

Ancient History

The second-century BC Greek writer Polybius, like many in antiquity, compared Roman hegemony over the Mediterranean with previous empires, which had already come and gone, as well as the current Carthaginian competition. This course examines imperial rule from the Persian empire in the sixth century BC to Late Antiquity, when Roman dominion in the East were threatened by the imperial successors of the Persians centred in what is now Iran. Issues to be explored will include how empires was created in the first place; the ways in which they both exploited the territories subjected to them, and sought to unify their empires under central control; and how the capitals of imperial powers reflected their imperial status.

The first part will cover the rise and fall of empires from Achaemenid Persia through those of Athens, Sparta and Macedon, to the formation of the Hellenistic kingdoms after Alexander. The second part will explore the rise of Roman power in conflict with Carthage and the Hellenistic Kingdoms, its consolidation and then challenge from Sassanian Persia.

Introductory bibliography: A. Kuhrt, The Persian Empire: a corpus of sources from the Achaemenid period (2007); P.J. Rhodes, The Athenian Empire (Greece & Rome New Surveys in the Classics 17, 1985); P. Low ed., The Athenian Empire (2008); A.B. Bosworth, Conquest and empire. The reign of Alexander the Great (1988); G. Shipley, The Greek world after Alexander, 323-30 B.C . (2000); C. Champion, Roman Imperialism: Readings and Sources (2004); A. Lintott, Imperium Romanum: Politics and Administration (1993); P. Garnsey & R. Saller, The Roman Empire: Economy, Society and Culture , 2nd edn. (2015); E. Dench, Empire and Political Cultures in the Roman World (2018); M. Lavan, Slaves to Rome: Paradigms of Empire in Roman Culture (2013); F. Millar, The Roman Empire and its neighbours (1967).

Our connection to the ancient past is indirect and delicate – resting on the proper interpretation of a limited number of small, unevenly distributed, and distorted reflections. This course will introduce this range of reflections – our ancient sources. We will explore the various types of evidence used by ancient historians, considering the pitfalls of each, the kind of history a particular source might produce, and the ways in which historians can critically assess the geographical, chronological, and social perspectives and imbalances of the material. How might the questions we ask of literary evidence differ from those we ask of archaeological data? How might inscriptions and documentary sources illuminate the lives of people neglected by other sources? What determines whether an event or period is ‘well documented’ or not? What are the difficulties and opportunities latent in bringing modern perspectives to ancient material? Students will develop a strong understanding of the landscape of ancient sources, as well as an appreciation for the fragility of the thread which connects modern observers and antiquity

Classical Art and Archaeology

This course provides an introduction to the scope and potential of the art and archaeology of the Greek and Roman worlds. The first 8 lectures will offer an overview of the questions, methods, and themes of classical 'art' and archaeology, and introduce the importance and inter-relationship of these strands of knowledge for studying the Greek and Roman worlds. The following 16 lectures familiarise students with the range of material culture produced by different peoples across the chronological and geographical span of Classical Antiquity. The focus of these lectures is on key sites, issues and approaches.

Suggested readings (double-starred [**] items are accessible online through iDiscover): ** S. Alcock and R. Osborne, Classical Archaeology, 2nd edn. (Oxford, 2011); M. Beard and J. Henderson, Classical Art from Greece to Rome (Oxford, 2001); A. Claridge, Rome: Oxford Archaeological Guides (Oxford, 2010); J. Elsner, The Art of the Roman Empire AD 100-450 , 2nd edn. (Oxford, 2018); R. Neer, The Art and Archaeology of the Greek World , 2nd edn. (London, 2019); R. Osborne, Archaic and Classical Greek Art (Oxford, 1998); **C. Shelmerdine (ed.), The Cambridge Companion to the Aegean Bronze Age (Cambridge, 2008); ** N.J. Spivey, Greek Sculpture (Cambridge, 2013);  N.J. Spivey and M.J. Squire, Panorama of the Classical World (2004); S. Tuck, A History of Roman Art (Chichester, 2015).

Classical and Comparative Philology and Linguistics

Classical and Comparative Philology and Linguistics : 16 lectures (8 MT and 8 LT). The course is designed to introduce the systematic study of language in general and of the classical languages in particular, with the aim of supporting students’ language learning and consolidation while explaining both the concepts and techniques of modern descriptive and theoretical linguistics and the ways in which these can be fruitfully applied to the analysis of Greek and Latin. There will be discussion of selected testimonia from ancient authors and analysis of passages and examples taken from mainstream authors. An advanced knowledge of Greek or Latin is not presupposed; the lectures in Michaelmas Term do not require any knowledge of Greek.

Students may find the following text-books helpful as introductory or follow-up reading for many of the concepts introduced throughout the whole course: Larry Trask, Language: The Basics ( Routledge 1999 (2 nd edn.)), Ralph Fasold and Jeff Connor-Linton (eds), An Introduction to Language and Linguistics (Cambridge, 2006); Victoria Fromkin (ed.), An introduction to Linguistic Theory (Blackwell, 2000); Egbert J. Bakker (ed.), A Companion to the Ancient Greek Language (Blackwell, 2010); James Clackson (ed.), A Companion to the Latin Language (Blackwell, 2011).

Subject to Directors of Studies’ approval, supervisions will be organised centrally to complement the lectures.

Those who plan to offer one or more of the Group E papers (Historical and Comparative Linguistics) in Part II of the Tripos are advised to attend at least some of the lectures for linguistics in Part IA, even if they do not intend to answer linguistics questions in Paper 6 of Part IA, or to take a linguistics paper in Part IB.

Humans are distinguished from all other animals by their abilities not only in using language, but also in preserving a record of speech over millennia. Our knowledge of ancient literate societies is immeasurably richer than of those which have left no written record. Knowing how language works is essential to learning Latin and Greek and understanding ancient cultures. These four lectures serve as a general introduction to the study of languages with especial reference to some of the differences between ancient languages and modern languages. The lectures will introduce the terminology used in studying languages and linguistics, setting out the different areas of linguistic analysis. We shall also consider wider questions concerning how Latin and Greek reflect and relate to ancient society, how languages change, how languages are related.

Introductory Reading

James Clackson, Language and Society in the Greek and Roman Worlds, Cambridge 2016

Coulter George, How Dead Languages Work , Oxford 2020

Tore Janson, A Natural History of Latin , Oxford, 2004

Peter Matthews, Linguistics, A Very Short Introduction , Oxford 2003

Joseph Solodow, Latin Alive: the survival of Latin in English and the Romance Languages

In these lectures we are going to explore the Latin language as a system. A system that despite its considerable complexity and many rules still seems to show a great number of anomalies. Why is it facere but interficere ? How do we get to bewildering paradigms like fero, tuli , latum ? Why do you say in urbe but ruri ? And what are all these cases for anyway? By analysing the phonology and morphology of Latin and their history we shall try to come to better understand why Latin looks and works the way it does.

Introductory reading:

Leonard Palmer, The Latin Language , London 1954 (older, but still useful; many reprints)

W. Sidney Allen, Vox Latina , Cambridge 1978

Michael Weiss, Outline of the Historical and Comparative Grammar of Latin , 2 nd edition, 2020 (advanced, but a useful place to look for particular details)

These lectures offer a corresponding introduction to the study of Greek as a linguistic system - a system which often looks bewilderingly more complex than Latin. By looking at important phonological and morphological developments in the history of the language we will tame some of that complexity, and answer questions such as: why does Greek look so similar to Latin and yet so different from it? Why does it have fewer cases and use them differently? What exactly is ​ an optative?

Suggested reading:

L. R. Palmer, The Greek Language , Bristol Classical Press, 1996

W. S. Allen, Vox Graeca , Cambridge University Press, 1987

S. Colvin, A Brief History of Ancient Greek , Wiley-Blackwell, 2014

Ancient Greek and Latin are “dead” languages, meaning that we only have written evidence for these languages. In these lectures we will explore the relationship between speech and writing. We will discuss the nature and the workings of the alphabet and then look at its origin, development and spread, and discuss how it is used by putting it in a linguistic, historical and cultural context. We will then read a number of primary sources (inscriptions) and literary texts in order to see how all of this works in practice.

Peter Daniels and William Bright,  The World's Writing Systems  New York 1996

Andrew Robinson,  The Story of Writing , London 2007

James T. Hooker,  Ancient writing from cuneiform to the alphabet , London 1990

Alison E. Cooley,  The Cambridge Manual of Latin Epigraphy ,   Cambridge 2012

Arthur Geoffrey Woodhead,  A Study of Greek Inscriptions , 2nd ed., Cambridge 1981

Classics Now: live issues past and present

This course will consist of a variable number of lectures each year, focused on different topics. The lectures will introduce students to some key aspects of the history of Classics as a discipline, and the many ways in which the study of Greece and Rome has participated and continues to participate in live issues of politics, power and identity in the modern world. Every Caucus will offer at least one lecture for the module. Essay questions reflecting this module will be set in IA Paper 6.

The 2024/25 schedule of lectures will be the follwing:

• 27 January / Shushma Malik - Empire and Nationalism
• 3 February / Susanne Turner - Decolonising the Museum
• 10 February / Jane Rempel - Good women/Crafty women: wool-working and household production in the Classical period
• 17 February / Tim Whitmarsh - Firing the Canon
• 24 February / Pippa Steele - Endangered language and writing, in the ancient world and today
• 3 March / Lea Cantor - The historiography of Greek philosophy in the context of the global history of philosophy

Upcoming events

• 20 Jul CPD: Classics Shorts with Mary Beard: Bringing Classics to the Next Generation

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VIEWS project Visiting Fellowships

20 May 2024

We invite applications for two funded VIEWS project Visiting Fellowships, with a deadline of 30th June 2024. For further details please follow this link.

Dr Richard Duncan-Jones FBA 1937-2024

19 May 2024

The Faculty is saddened by news of the death of Dr Richard Duncan-Jones FBA FSA. He had been a Fellow of Gonville and Caius College since 1963 where he was a college lecture in Classics and Director of Studies for many years.

New appointment in Latin literature

15 May 2024

The Faculty is delighted to announce the appointment of Dr Elena Giusti as a new Assistant Professor of Latin literature. She will join the Faculty in the new academic year. Elena will be joining from the University of Warwick, where she is currently Associate Professor of Latin . She works broadly on Roman literature and...

AHRC CDP studentship - Acquiring the Mediterranean: exploring local agencies in the acquisition of antiquities from Greece and the Ottoman Empire by Charles Newton at the British Museum, 1861–1886.

AHRC Collaborative Doctoral Partnership (CDP) studentship Acquiring the Mediterranean: exploring local agencies in the acquisition of antiquities from Greece and the Ottoman Empire by Charles Newton at the British Museum, 1861–1886. The Faculty of Classics and the British Museum are excited to announce a fully funded...

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58 Aristotelian (Classical) Argument Model

Aristotelian argument.

The Aristotelian or classical argument is a style of argument developed by the famous Greek philosopher and rhetorician,  Aristotle . In this style of argument, your goal as a writer is to convince your audience of something. The goal is to use a series of strategies to persuade your audience to adopt your side of the issue. Although  ethos ,  pathos , and  logos  play a role in any argument, this style of argument utilizes them in the most persuasive ways possible.

Of course, your professor may require some variations, but here is the basic format for an Aristotelian, or classical, argumentative essay:

• Introduce your issue.  At the end of your introduction, most professors will ask you to present your thesis. The idea is to present your readers with your main point and then dig into it.
• Present your case  by explaining the issue in detail and why something must be done or a way of thinking is not working. This will take place over several paragraphs.
• Address the opposition.  Use a few paragraphs to explain the other side. Refute the opposition one point at a time.
• Provide your proof.  After you address the other side, you’ll want to provide clear evidence that your side is the best side.
• Present your conclusion.  In your conclusion, you should remind your readers of your main point or thesis and summarize the key points of your argument. If you are arguing for some kind of change, this is a good place to give your audience a call to action. Tell them what they could do to make a change.

For a visual representation of this type of argument, check out the Aristotelian infographic below:

Introduction to Aristotelian Argument

The Aristotelian or classical argument is a style of argument developed by the famous Greek philosopher and rhetorician, Aristotle. In this style of argument, the writer’s goal is to be convincing and to persuade your audience to your side of the issue through a series of strategies.

Start here!

Before you begin, review your assignment and ask yourself questions about what you might want to write about.

Use prewriting activities, such as brainstorming or listing, to help develop ideas for topics and angles.

Do your research! Find credible sources to help you build your argument.

But there’s more! There are some important concepts you need to learn about.

Modes of Persuasion

Ethos=credibility

Pathos=emotions

Logos=logic

Know Your Audience!

When writing a classical or Aristotelian argument, think about how you are going to be convincing to your audience!

Things to remember along the way…

Clear thesis

Support thesis

Opposing views

Cite sources

Sample Essay

For a sample essay written in the Aristotelian model, click here .

Aristotelian (Classical) Argument Model Copyright © 2020 by Liza Long; Amy Minervini; and Joel Gladd is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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Essay Guidelines

Students are encouraged to display literacy, clarity, logic, judgement, and coherence in their writing. A good student will announce an argument clearly and firmly, provide reasons for advancing that argument, anticipate objections, defend and illustrate the argument, and put forth a proper conclusion. If you have difficulty with writing, make good use of your dictionary. If you are at all unsure whether you have selected the word you really want, or are insecure about spelling, look it up. If you have difficulties with grammar and style, obtain a good guide such as Robertson or Strunk and White and use it. Refrain from too much dependence on secondary sources. You will be penalised for needlessly copying out passages from secondary sources. A Queen's graduate is an independent, articulate, and persuasive person.

Topics and Argumentation

It is very important to choose a topic that will interest you and that allows you to make an argument and offer some actual analysis of a subject. Essays that are merely descriptive or narrative are not good essays. An essay must have a thesis statement (a statement of your argument). Your instructor will provide some guidelines for choosing a topic, or will give a list of topics from which to choose. The following web pages offer much good advice on choosing a topic and developing your arguments.

• Developing a Thesis Statement  (Student Academic Success Services, Queen's Univ.)
• Avoiding Plot Summary  (Student Academic Success Services, Queen's Univ.)
• How to be Original  (Michael Barsanti, Univ. of Pennsylvania)
• Thesis Statements and introductions  (Katherine Milligan, Univ. of Pennsylvania)
• Papers: Expectations, Guidelines, Advice, and Grading  (Jeannine DeLombard and Dan White, Univ. of Toronto)
• The Basic Elements of English Grammar Guide  (Dept. of English, Univ. of Calgary; see the sections on "A student's guide to the presentation of essays," "Writing guide," and "The effective writing detailed marking guide")
• Five Steps to Writing  (Michael Barsanti, Univ. of Pennsylvania)
• Using Quotations in Critical Essays  (Matt Hart, Univ. of Pennsylvania)
• Using Word Definitions in Formal Essays: Incorporation and Citation  (Robbie Glen, Univ. of Pennsylvania)

If you prefer something already printed, Colin Norman's  Writing essays: A short guide , produced by the Department of English here at Queen's and available in the bookstore, is strongly recommended.

Your instructor will set a minimum and maximum length for essays. Instructors will often set specific guidelines for margins and font size in order to save themselves having to count words: keep your instructor happy by following these. Such limits are always carefully chosen and should be followed. They are usually intended to offer enough room to cover your topic, but not enough to accommodate padding, digressions, and rambling. Footnotes or endnotes should be used for citations and references, not discussion. If your paper is substantially shorter than the guidelines, you are probably not covering the topic in sufficient detail. Your instructor is concerned with the quality of your work, rather than its quantity. Length will not, of itself, lead to a better mark. If you find your essay is too long, careful editing (elimination of redundancies, superfluous words, and digression) can usually trim an essay that you think has no fat by up to twenty percent. Queen's Student Academic Success Services offers a useful handout:  Eliminating Wordiness .

Important reminder : When you use ancient sources, you will probably be using a translation. When choosing a topic and writing an essay you should be careful not to forget that. The English words before you reflect the translators' interpretations of the original texts and not the originals. Be careful in how much weight you give specific vocabulary in your translations.

Sources & Bibliographies

There are many different ways to cite sources and format bibliographies in essays in the humanities and classics. Your instructor might give specific instructions, but the most common system in use in classics today is what is often called an author-date reference system. This means that, if you refer to works of modern scholarship in the body of your essay, you will identify the work by the author's name, the date of publication if there is more than one work by that author, and a page number. Different versions of the author-date system use different punctuation: e.g., Smith 1990, 111; Smith (1990) 111; Smith 1990: 111; Smith 1990.111. If you have fairly few references, it is usually easier to insert them within parentheses (rounded brackets) in the text (this saves your reader from looking at a footnote to see what it contains). More than three should probably be put in a footnote. References to ancient texts should not be footnoted but inserted in the text, unless the number of references makes that unwieldy: if there are enough references so that you cannot easily see where the sentence resumes, you have too many for inclusion in the body.

This is only an introduction. Guidelines for such systems can be found in major style books, such as that produced by the Modern Languages Association (MLA), the Chicago Manual of Style (CMS), and Turabian. For more information on these systems and formatting in general, you can consult (in addition to the web pages mentioned below):

• Queen's University Library's " Citing Sources " webpage or
• Queen's Student Academic Success Services' Online Handouts  (under "Using and Citing Sources").

The free, downloadable program,  Aristarchos , will help you identify journals and their correct abbreviations .

Primary Resources

Primary sources in classics offer their own problems for the scholar citing them. For citation of ancient texts, consult the classics-oriented web pages given below and pay attention to your texts and course readings. Three points in particular are worth keeping in mind:

• Almost no one today uses Roman numerals in citations of ancient texts, and some academics find them positively annoying. Use a period without a space to separate numbers within the same reference (Thucydides 1.2.3); use a comma plus a space to separate different references within the same book or poem (Thucydides 1.2.3, 6, 8-9), and a semi-colon to separate different books, works or authors (Thucydides 1.2.3, 4.6 [i.e., 4.6 of book one]; 2.3.4).
• Keep in mind that you will usually be working with translations. Unless you know Latin and Greek, you will have to cite and quote translations. This means that you will need to put the translation(s) you use in your bibliography. It is common practice to add, at the first citation of an ancient source, a reference indicating what translation is being used. E.g., " blah blah blah yadda yadda ( Aen . 8.273; all references to the  Aeneid  follow Lattimore's translation)" (or do that with a footnote), and then you will put Lattimore's translation in your bibliography.
• As does any discipline, Classics has its own ways of doing things. If in any doubt at all, consult! For example, students often have trouble with even the names of classical works, which often have real titles quite different from those they are often called in English. For example, Livy's history of Rome is definitely not called in Latin  The History of Rome , and the titles of translations of parts of Livy's history have been made up. There is no work by Livy called  The War with Hannibal : that is the title of a translation of part of Livy's history published by Penguin. In fact, it is presumed that a reference to Livy is to his main surviving work (whose Latin title is  ab urbe condita ) and so the title of that work is usually omitted. Therefore, before you cite any ancient work, consult your texts, readings, and the sources below, which in turn usually refer to the guidelines to abbreviations and citations contained in standard classics reference works such as  The Oxford Classical Dictionary .  Of course, keep in mind that even within the discipline of classics there are many different established ways of doing things.

Note well : Never put your essay in a binder or folder or have it bound unless an instructor specifically asks you to. A staple in the top left corner is almost always enough.

Online Resources For Essays in Classics

The contributors' guidelines for  The American Journal of Archaeology  and  Transactions of the American Philological Association , two major North American classical journals, are also helpful:

• AJA Academic Resources for Students
• Style Guide for TAPA Contributors  (especially notes 6-12)

Here are some other very highly recommended guides to researching, writing, and formatting essays, mostly in classics:

• Some Suggestions and Guidelines for Writing Classical Studies Essays  (Department of Classics, University of Waterloo)  
• Notes on Composing a Term Essay  (general advice)
• The Use of Secondary Sources
• Sample Examinations and Study Guides  (includes sample essays)
• Essays  (Department of Classics, Skidmore College; with sections on understanding topics, planning and writing essays)

Instructors expect essays to be written in good, grammatical English. Students can get help with writing essays and understanding grammar from Student Academic Success Services (on the main floor in Stauffer Library), phone: 533-6315; e-mail:  [email protected] . As well, their web pages have some  helpful handouts  (see "Punctuation, Grammar, Style").

Many of the web pages cited above have sections on grammar. The following are also recommended:

• The Basic Elements of English Grammar Guide  (Department of English, University of Calgary; interactive grammar tutorials, and a superb, detailed summary of all aspects of writing under "The effective writing detailed marking guide")
• Papers: Expectations, Guidelines, Advice, and Grading  (Department of English, University of Toronto)
• Getting an A on an English Paper  (Jack Lynch, Rutgers University)
• William Safire's  "Fumble Rules of Grammar"  are a useful checklist; if you do not see what is wrong with any of the rules, you need to seek some help.

Even though the web contains many excellent resources, students are still advised to own a good comprehensive English dictionary, and a detailed guide (or guides) to English grammar, usage, punctuation, and style.

These pages offer good overall advice about what instructors are thinking when they grade essays:

• Jack Lynch's Guide to Grammar and Style
• Papers: Expectations, Guidelines, Advice, and Grading
• Getting an A on an English Paper

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Classicswrites, a guide to research and writing in the field of classics.

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Consider each of the following thesis statements.

Included below are a range of strong, weak, and middle ground thesis statements . Can you identify the argument? Can you identify the base of evidence? How/would you improve these examples? After reading through these examples and making your own observations,  you can see feedback comments for each example by clicking on the right tab.

Example Theses

Comments and suggestions.

At the end of the day, the gods are not people; they are deities meant to be worshipped and feared. What distinguishes the divine family from the human is that, while the mortal family progresses and grows from generation to generation, the hierarchy of the gods remains stagnant despite a constant and often petty struggle for power.

I will focus on the development of the Corinthian theatre up to the Hadrianic phase, in particular the monumental sculptural decoration of the scaenae frons. The conscious artistic framework and subject matter of the scaenae frons projected a strong Roman imperial ideology and identity, while other elements of sculptural decoration alluded to the city’s Greek, geo-historical past. In other words, the theatre shows the power and influence of Rome, but does not ignore the Greek setting, visually creating a manifestation of hybrid identity.

This essay aims to not only synthesize the major points made about Ovid's Metamorphoses  in the recent academic sphere, but to give a solid, well-rounded depiction of how Ovid viewed the features of metaphor and myth in Latin poetry. 

The following example has some promise but needs refining.

It doesn’t leave the reader with a clear idea of what, exactly, the paper is going to argue. We get the impression that the author has a pathway in mind, and the paper has the potential to be engaging. However, the specifics of this idea are not made explict to the reader, so there is no obvious argument. 

The author might consider:

• What is the context? Will this paper address all gods, or those of a specific culture?
• What texts are used? 
• What is the end result of stagnant generations versus chaging generations? 
• Are we focused on stability or the struggles?

This is a strong thesis, and many elements are made explicit.

• Object of analysis = Corinthian theatre; especially the artistic framework and subject matter of the scaenae frons
• Time period = up to the Hadrianic period
• Argument/ "so what?": The sculpture project manifests hybrid identity, which has socio-political implications (Roman imperial ideology; Greek, geo-historical past)

This is a relatively weak statment

It speaks in generalizations and does not make an argument. While it is clear what text the author will use as evidence (Ovid), it does not tell the reader anything substantive or new about this text. The statement suggests that the author will simply summarize and synthesize pre-existing information, which is not the goal of a thesis-based research paper, which makes an arguement and tells us something new. 

This is a strong thesis.

It clearly lays out what texts the author will use, picks a methodology (compare and contrast), identifies a specific topic they look at, and takes a stance on what they want to argue. If the student selects passages from the text that support their stance, this will make a good paper. 

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era.  –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it.  –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read.  –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.”  –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture.  –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think.  –Jonny Diamond, Editor-in-Chief 

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done.  –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay  Tell Me How It Ends: An Essay in Forty Questions  was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel  Lost Children Archive  (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a  good  conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment.  Tell Me How It Ends  is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.”  –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital.  –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing  Bad Feminist  that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell.  This Young Monster  (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from  Artforum ,  Dazed & Confused , and  Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic,  This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) ·  Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012)  · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014)  · Meghan Daum, The Unspeakable (2014)  · Daphne Merkin, The Fame Lunches (2014)  · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) ·  Renee Gladman, Calamities (2016)  · Jesmyn Ward, ed. The Fire This Time (2016)  · Lindy West, Shrill (2016)  · Mary Oliver, Upstream (2016)  · Emily Witt, Future Sex (2016)  · Olivia Laing, The Lonely City (2016)  · Mark Greif, Against Everything (2016)  · Durga Chew-Bose, Too Much and Not the Mood (2017)  · Sarah Gerard, Sunshine State (2017)  · Jim Harrison, A Really Big Lunch (2017)  · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017)  · Louise Glück, American Originality (2017)  · Joan Didion, South and West (2017)  · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017)  · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017)  · Ta-Nehisi Coates, We Were Eight Years in Power (2017)  ·  Samantha Irby, We Are Never Meeting in Real Life (2017)  · Alexander Chee, How to Write an Autobiographical Novel (2018)  · Alice Bolin, Dead Girls (2018)  · Marilynne Robinson, What Are We Doing Here? (2018)  · Lorrie Moore, See What Can Be Done (2018)  · Maggie O’Farrell, I Am I Am I Am (2018)  · Ijeoma Oluo, So You Want to Talk About Race (2018)  · Rachel Cusk, Coventry (2019)  · Jia Tolentino, Trick Mirror (2019)  · Emily Bernard, Black is the Body (2019)  · Toni Morrison, The Source of Self-Regard (2019)  · Margaret Renkl, Late Migrations (2019)  ·  Rachel Munroe, Savage Appetites (2019)  · Robert A. Caro,  Working  (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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12 Classic Essays on English Prose Style

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Despite the changes in English prose over the past few centuries, we may still benefit from the stylistic observations of the old masters. Here, chronologically arranged, are 12 key passages from our collection of Classic Essays on English Prose Style .

Classic Essays on English Prose

Samuel johnson on the bugbear style.

There is a mode of style for which I know not that the masters of oratory have yet found a name; a style by which the most evident truths are so obscured, that they can no longer be perceived, and the most familiar propositions so disguised that they cannot be known. . . . This style may be called the terrifick , for its chief intention is, to terrify and amaze; it may be termed the repulsive , for its natural effect is to drive away the reader; or it may be distinguished, in plain English, by the denomination of the bugbear style , for it has more terror than danger. (Samuel Johnson, "On the Bugbear Style," 1758)

Oliver Goldsmith on Simple Eloquence

Eloquence is not in the words but in the subject, and in great concerns the more simply anything is expressed, it is generally the more sublime. True eloquence does not consist, as the rhetoricians assure us, in saying great things in a sublime style, but in a simple style, for there is, properly speaking, no such thing as a sublime style; the sublimity lies only in the things; and when they are not so, the language may be turgid, affected, metaphorical --but not affecting. (Oliver Goldsmith, "Of Eloquence," 1759)

Benjamin Franklin on Imitating the Style of the Spectator

About this time I met with an odd volume of the Spectator . I had never before seen any of them. I bought it, read it over and over, and was much delighted with it. I thought the writing excellent, and wished, if possible, to imitate it. With that view, I took some of the papers, and making short hints of the sentiment in each sentence, laid them by for a few days, and then, without looking at the book, tried to complete the papers again, by expressing each hinted sentiment at length and as fully as it had been expressed before, in any suitable words that should come to hand. (Benjamin Franklin, "Imitating the Style of the Spectator ," 1789)

William Hazlitt on Familiar Style

It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions . It is not to take the first word that offers, but the best word in common use. (William Hazlitt, "On Familiar Style," 1822)

Thomas Macaulay on the Bombastic Style

[Michael Sadler's style is] everything which it ought not to be. Instead of saying what he has to say with the perspicuity, the precision, and the simplicity in which consists the eloquence proper to scientific writing, he indulges without measure in vague , bombastic declamation , made up of those fine things which boys of fifteen admire, and which everybody, who is not destined to be a boy all his life, weeds vigorously out of his compositions after five-and-twenty. That portion of his two thick volumes which is not made up of statistical tables, consists principally of ejaculations , apostrophes, metaphors, similes--all the worst of their respective kinds. (Thomas Babington Macaulay, "On Sadler's Bombastic Declamations," 1831)

Henry Thoreau on a Vigorous Prose Style

The scholar might frequently emulate the propriety and emphasis of the farmer's call to his team, and confess that if that were written it would surpass his labored sentences . Whose are the truly labored sentences? From the weak and flimsy periods of the politician and literary man, we are glad to turn even to the description of work, the simple record of the month's labor in the farmer's almanac, to restore our tone and spirits. A sentence should read as if its author, had he held a plow instead of a pen, could have drawn a furrow deep and straight to the end. (Henry David Thoreau, "A Vigorous Prose Style," 1849)

Cardinal John Newman on the Inseparability of Style and Substance

Thought and speech are inseparable from each other. Matter and expression are parts of one; style is a thinking out into language. This is what I have been laying down, and this is literature: not  things , not the verbal symbols of things; not on the other hand mere words; but thoughts expressed in language. . . . A great author, Gentlemen, is not one who merely has a  copia verborum , whether in prose or verse, and can, as it were, turn on at his will any number of splendid phrases and swelling sentences; but he is one who has something to say and knows how to say it. (John Henry Newman, The Idea of a University, 1852)

Mark Twain on Fenimore Cooper's Literary Offences

Cooper's word-sense was singularly dull. When a person has a poor ear for music he will flat and sharp right along without knowing it. He keeps near the tune, but it is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he does not say it. This is Cooper. He was not a word-musician. His ear was satisfied with the approximate words. . . . There have been daring people in the world who claimed that Cooper could write English, but they are all dead now. (Mark Twain, "Fenimore Cooper's Literary Offences," 1895)

Agnes Repplier on the Right Words

Musicians know the value of chords; painters know the value of colors; writers are often so blind to the value of words that they are content with a bare expression of their thoughts . . .. For every sentence that may be penned or spoken the right words exist. They lie concealed in the inexhaustible wealth of a vocabulary enriched by centuries of noble thought and delicate manipulation. He who does not find them and fit them into place, who accepts the first term which presents itself rather than search for the expression which accurately and beautifully embodies his meaning, aspires to mediocrity, and is content with failure. (Agnes Repplier, "Words," 1896)

Arthur Quiller-Couch on Extraneous Ornament

[L]et me plead that you have been told of one or two things which Style is not ; which have little or nothing to do with Style, though sometimes vulgarly mistaken for it. Style, for example, is not—can never be—extraneous Ornament. . . . [I]f you here require a practical rule of me, I will present you with this: "Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—wholeheartedly—and delete it before sending your manuscript to press. Murder your darlings ." (Sir Arthur Quiller-Couch, "On Style," 1916)

H.L. Mencken on Woodrow Wilson's Style

Woodrow knew how to conjure up such words. He knew how to make them glow, and weep. He wasted no time upon the heads of his dupes, but aimed directly at their ears, diaphragms and hearts. . . . When Wilson got upon his legs in those days he seems to have gone into a sort of trance, with all the peculiar illusions and delusions that belong to a frenzied pedagogue. He heard words giving three cheers; he saw them race across a blackboard like Socialists pursued by the Polizei ; he felt them rush up and kiss him. (H.L. Mencken, "The Style of Woodrow," 1921)

F.L. Lucas on Stylistic Honesty

As the police put it, anything you say may be used as evidence against you. If handwriting reveals character, writing reveals it still more. . . . Most style is not honest enough. Easy to say, but hard to practice. A writer may take to long words, as young men to beards—to impress. But long words, like long beards, are often the badge of charlatans. Or a writer may cultivate the obscure, to seem profound. But even carefully muddied puddles are soon fathomed. Or he may cultivate eccentricity, to seem original. But really original people do not have to think about being original—they can no more help it than they can help breathing. They do not need to dye their hair green. (F.L. Lucas, "10 Principles of Effective Style," 1955)

• What Is the Longest German Word?
• The Top 20 Figures of Speech
• style (rhetoric and composition)
• F.L. Lucas Offers Principles for Effective Writing
• Mark Twain's Top 10 Writing Tips
• Overview of Baroque Style in English Prose and Poetry
• Using the Word Pastiche
• What Is Colloquial Style or Language?
• Loose Sentence in Grammar and Prose Style
• What is a Familiar Essay in Composition?
• What Is Euphony in Prose?
• Sentence Imitation in English
• Mark Twain's Colloquial Prose Style
• What Is Style in Writing?
• Euphuism (Prose Style)

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Classical Argument

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A (Very) Brief History of Rhetoric

The study of rhetoric has existed for thousands of years, predating even Socrates, Plato and the other ancient Greek philosophers that we often credit as the founders of Western philosophy. Although ancient rhetoric is most commonly associated with the ancient Greeks and Romans, early examples of rhetoric date all the way back to ancient Akkadian writings in Mesopotamia.

In ancient Greece and Rome, rhetoric was most often considered to be the art of persuasion and was primarily described as a spoken skill. In these societies, discourse occurred almost exclusively in the public sphere, so learning the art of effective, convincing speaking was essential for public orators, legal experts, politicians, philosophers, generals, and educators. To prepare for the speeches they would need to make in these roles, students engaged in written exercises called  progymnasmata . Today, rhetorical scholars still use strategies from the classical era to conceptualize argument. However, whereas oral discourse was the main focus of the classical rhetoricians, modern scholars also study the peculiarities of written argument.

Aristotle provides a crucial point of reference for ancient and modern scholars alike. Over 2000 years ago, Aristotle literally wrote the book on rhetoric. His text  Rhētorikḗ ( On Rhetoric ) explores the techniques and purposes of persuasion in ancient Greece, laying the foundation for the study and implementation of rhetoric in future generations. Though the ways we communicate and conceptualize rhetoric have changed, many of the principles in this book are still used today. And this is for good reason: Aristotle’s strategies can provide a great guide for organizing your thoughts as well as writing effective arguments, essays, and speeches.

Below, you will find a brief guide to some of the most fundamental concepts in classical rhetoric, most of which originate in  On Rhetoric.

The Rhetorical Appeals

To understand how argument works in  On Rhetoric , you must first understand the major appeals associated with rhetoric. Aristotle identifies four major rhetorical appeals: ethos (credibility), logos (logic), pathos (emotion), and Kairos(time). 

• Ethos –  persuasion through the author's character or credibility. This is the way a speaker (or writer) presents herself to the audience. You can build credibility by citing professional sources, using content-specific language, and by showing evidence of your ethical, knowledgeable background.
• Logos –  persuasion through logic. This is the way a speaker appeals to the audience through practicality and hard evidence. You can develop logos by presenting data,  statistics, or facts by  crafting a clear claim with a logically-sequenced argument.  ( See enthymeme and syllogism )
• Pathos –  persuasion through emotion or disposition . This is the way a speaker appeals to the audience through emotion, pity, passions, or dispositions. The idea is usually to evoke and strengthen feelings already present within the audience. This can be achieved through story-telling, vivid imagery, and an impassioned voice.  Academic arguments in particular ​benefit from understanding pathos as appealing to an audience's academic disposition on a given topic, subject, or argument.
• Kairos – an appeal made through the adept use of time. This is the way a speaker appeals to the audience through notions of time. It is also considered to be the appropriate or opportune time for a speaker to insert herself into a conversation or discourse, using the three appeals listed above. A Kairotic appeal can be made through calls to immediate action, presenting an opportunity as temporary, and by describing a specific moment as propitious or ideal.

​*Note:  When using these terms in a Rhetorical Analysis, make sure your syntax is correct. One does not appeal to ethos, logos, or pathos directly. Rather, one appeals to an audience's emotion/disposition, reason/logic, or sense of the author's character/credibility within the text. Ethos, pathos, and logos are themselves the appeals an author uses to persuade an audience. 

An easy way to conceptualize the rhetorical appeals is through advertisements, particularly infomercials or commercials. We are constantly being exposed to the types of rhetoric above, whether it be while watching television or movies, browsing the internet, or watching videos on YouTube.

Imagine a commercial for a new car. The commercial opens with images of a family driving a brand-new car through rugged, forested terrain, over large rocks, past waterfalls, and finally to a serene camping spot near a tranquil lake surrounded by giant redwood trees. The scene cuts to shots of the interior of the car, showing off its technological capacities and its impressive spaciousness. A voiceover announces that not only has this car won numerous awards over its competitors but that it is also priced considerably lower than comparable models, while getting better gas mileage. “But don’t wait,” the voiceover says excitedly, “current lessees pay 0% APR financing for 12 months.”

In just a few moments, this commercial has shown masterful use of all four appeals. The commercial utilizes pathos by appealing to our romantic notions of family, escape, and the great outdoors. The commercial develops ethos by listing its awards, and it appeals to our logical tendencies by pointing out we will save money immediately because the car is priced lower than its competitors, as well as in the long run because of its higher MPG rate. Finally, the commercial provides an opportune and propitious moment for its targeted audience to purchase a car immediately. 

Depending on the nature of the text, argument, or conversation, one appeal will likely become most dominant, but rhetoric is generally most effective when the speaker or writer draws on multiple appeals to work in conjunction with one another. To learn more about Aristotle's rhetorical appeals, click here.

Components and Structure

The classical argument is made up of five components, which are most commonly composed in the following order:

• Exordium –  The introduction, opening, or hook.
• Narratio –  The context or background of the topic.
• Proposito and Partitio –  The claim/stance and the argument.
• Confirmatio and/or Refutatio –  positive proofs and negative proofs of support.
• Peroratio –  The conclusion and call to action.

Think of the exordium as your introduction or “hook.” In your exordium, you have an opportunity to gain the interest of your reader, but you also have the responsibility of situating the argument and setting the tone of your writing. That is, you should find a way to appeal to the audience’s interest while also introducing the topic and its importance in a professional and considerate manner. Something to include in this section is the significance of discussing the topic in this given moment (Kairos). This provides the issue a sense of urgency that can validate your argument.

This is also a good opportunity to consider who your intended audience is and to address their concerns within the context of the argument. For example, if you were writing an argument on the importance of technology in the English classroom and your intended audience was the board of a local high school, you might consider the following:

• New learning possibilities for students (General Audience Concerns)
• The necessity of modern technology in finding new, up-to-date information (Hook/Kairos)
• Detailed narrative of how technology in one school vastly improved student literacy (Hook/Pathos) 
• Statistics showing a link between exposure to technology and rising trends in literacy (Hook/Logos)
• Quotes from education and technology professors expressing an urgency for technology in English classrooms (Hook/Ethos)

Of course, you probably should not include all of these types of appeals in the opening section of your argument—if you do, you may end up with a boring, overlong introduction that doesn’t function well as a hook. Instead, consider using some of these points as evidence later on. Ask yourself:  What will be most important to my audience? What information will most likely result in the action I want to bring about?  Think about which appeal will work best to gain the attention of your intended audience and start there.

The narratio provides relevant foundational information and describes the social context in which your topic exists. This might include information on the historical background, including recent changes or updates to the topic, social perception, important events, and other academic research. This helps to establish the rhetorical situation for the argument: that is, the situation the argument is currently in, as impacted by events, people, opinion, and urgency of some kind. For your argument on technology in the English classroom, you might include:

• Advances in education-related technology over the centuries
• Recent trends in education technology
• A description of the importance of digital literacy
• Statistics documenting the lack of home technology for many students
• A selection of expert opinions on the usefulness of technology in all classrooms

Providing this type of information creates the setting for your argument. In other words, it provides the place and purpose for the argument to take place. By situating your argument within in a viable context, you create an opportunity to assert yourself into the discussion, as well as to give your reader a genuine understanding of your topic’s importance.

Propositio and Partitio

These two concepts function together to help set up your argument. You can think of them functioning together to form a single thesis. The propositio informs your audience of your stance, and the partitio lays out your argument. In other words, the propositio tells your audience what you think about a topic, and the partitio briefly explains why you think that way and how you will prove your point. 

Because this section helps to set up the rest of your argument, you should place it near the beginning of your paper. Keep in mind, however, that you should not give away all of your information or evidence in your partitio. This section should be fairly short: perhaps 3-4 sentences at most for most academic essays. You can think of this section of your argument like the trailer for a new film: it should be concise, should entice the audience, and should give them a good example of what they are going to experience, but it shouldn’t include every detail. Just as a filmgoer must see an entire film to gain an understanding of its significance or quality, so too must your audience read the rest of your argument to truly understand its depth and scope. 

In the case of your argument on implementing technology in the English classroom, it’s important to think not only of your own motivations for pursuing this technology in the classroom, but also of what will motivate or persuade your respective audience(s). Some writing contexts call for an audience of one. Some require consideration of multiple audiences, in which case you must find ways to craft an argument which appeals to each member of your audience. For example, if your audience included a school board as well as parents andteachers, your propositio might look something like this:

“The introduction of newer digital technology in the English classroom would be beneficial for all parties involved. Students are already engaged in all kinds of technological spaces, and it is important to implement teaching practices that invest students’ interests and prior knowledge. Not only would the marriage of English studies and technology extend pedagogical opportunities, it would also create an ease of instruction for teachers, engage students in creative learning environments, and familiarize students with the creation and sharing technologies that they will be expected to use at their future colleges and careers. Plus, recent studies suggest a correlation between exposure to technology and higher literacy rates, a trend many education professionals say isn’t going to change.”

Note how the above paragraph considers the concerns and motivations of all three audience members, takes a stance, and provides support for the stance in a way that allows for the rest of the argument to grow from its ideas. Keep in mind that whatever you promise in your propositio and partitio (in this case the new teaching practices, literacy statistics, and professional opinion) must appear in the body of your argument. Don’t make any claims here that you cannot prove later in your argument.

Confirmatio and Refutatio  

These two represent different types of proofs that you will need to consider when crafting your argument. The confirmatio and refutatio work in opposite ways, but are both very effective in strengthening your claims. Luckily, both words are cognates—words that sound/look in similar in multiple languages—and are therefore are easy to keep straight. Confirmatio is a way to confirm your claims and is considered a positive proof; refutatio is a way to acknowledge and refute a counterclaim and is considered a negative proof.

The confirmatio is your argument’s support: the evidence that helps to support your claims. For your argument on technology in the English classroom, you might include the following:

• Students grades drastically increase when technology is inserted into academics
• Teachers widely agree that students are more engaged in classroom activities that involve technology
• Students who accepted to elite colleges generally possess strong technological skills

The refutatio provides negative proofs. This is an opportunity for you to acknowledge that other opinions exist and have merit, while also showing why those claims do not warrant rejecting your argument. 

If you feel strange including information that seems to undermine or weaken your own claims, ask yourself this: have you ever been in a debate with someone who entirely disregarded every point you tried to make without considering the credibility of what you said? Did this make their argument less convincing? That’s what your paper can look like if you don’t acknowledge that other opinions indeed exist and warrant attention. 

After acknowledging an opposing viewpoint, you have two options. You can either concede the point (that is, admit that the point is valid and you can find no fault with their reasoning), or you can refute their claim by pointing out the flaws in your opponent’s argument. For example, if your opponent were to argue that technology is likely to distract students more than help them (an argument you’d be sure to include in your argument so as not to seem ignorant of opposing views) you’d have two options:

• Concession: You might concede this point by saying “Despite all of the potential for positive learning provided by technology, proponents of more traditional classroom materials point out the distractive possibilities that such technology would introduce into the classroom. They argue that distractions such as computer games, social media, and music-streaming services would only get in the way of learning.” 

In your concession of the argument, you acknowledge the merit of the opposing argument, but you should still try to flip the evidence in a positive way. Note how before conceding we include “despite all of the potential for positive learning.” This reminds your reader that, although you are conceding a single point, there are still many reasons to side with you.

• Refutation: To refute this same point you might say something like, “While proponents of more traditional English classrooms express concerns about student distraction, it’s important to realize that in modern times, students are already distracted by the technology they carry around in their pockets. By redirecting student attention to the technology administered by the school, this distraction is shifted to class content. Plus, with website and app blocking resources available to schools, it is simple for an institution to simply decide which websites and apps to ban and block, thereby ensuring students are on task.”

Note how we acknowledged the opposing argument, but immediately pointed out its flaws using straightforward logic and a counterexample. In so doing, we effectively strengthen our argument and move forward with our proposal.

Your peroratio is your conclusion. This is your final opportunity to make an impact in your essay and leave an impression on your audience. In this section, you are expected to summarize and re-evaluate everything you have proven throughout your argument. However, there are multiple ways of doing this. Depending on the topic of your essay, you might employ one or more of the following in your closing:

• Call to action (encourage your audience to do something that will change the situation or topic you have been discussing).
• Discuss the implications for the future. What might happen if things continue the way they are going? Is this good or bad? Try to be impactful without being overly dramatic.
• Discuss other related topics that warrant further research and discussion.
• Make a historical parallel regarding a similar issue that can help to strengthen your argument.
• Urge a continued conversation of the topic for the future.

Remember that your peroratio is the last impression your audience will have of your argument. Be sure to consider carefully which rhetorical appeals to employ to gain a desirable effect. Make sure also to summarize your findings, including the most effective and emphatic pieces of evidence from your argument, reassert your major claim, and end on a compelling, memorable note. Good luck and happy arguing!

In this section you will find a list of themes that illustrate how the Classical past is still relevant today.  A list of topics to choose from for each theme offers you plenty of choice for your EPQ research, giving you some general information on the topic, suggesting specific  EPQ research questions ​ and providing you with useful resources to give you the best start for your research.

Click on the left handside of this page to discover them all and pick up the one that you feel is more inspiring or appropriate for your project. ‌

The image below gives you a quick overview of all the themes and topics offered in this website. 

• Composition II. Authored by : Alexis McMillan-Clifton. Provided by : Tacoma Community College. Located at : http://www.tacomacc.edu . Project : Kaleidoscope Open Course Initiative. License : CC BY: Attribution
• 102 S11 Classical I. Authored by : Alexis McMillan-Clifton. Located at : https://youtu.be/kraJ2Juub5U . License : All Rights Reserved . License Terms : Standard YouTube License
• 102 S11 Classical II. Authored by : Alexis McMillan-Clifton. Located at : https://youtu.be/3m_EP-BPsBs . License : All Rights Reserved . License Terms : Standard YouTube License

Is Schooling Conducive to Learning?

    Children also all learn in different ways. Many times when a child in unable to learn something the way it is presented in schools they are told it is their fault or they simply fail. Usually no one looks into the reason that a child is failing or struggling. It is assumed that they just aren't trying hard enough. This is very unfair to the child because it cheats them out of discovering their full potentials and strengths. By cheating children this way we are also severely crippling their self-esteem. Children know that they have greater potentials, but they will stop believing it if they feel like their best is not enough. When they feel this way they will often stop trying because they feel that they will never achieve anything. I know a man who went through much of this as a child. He has a learning difference and was unable to keep up with most of his classes. The teacher told his parents that if he sat quietly in the back of the room she would pass him. His parents pulled him out of the public school and sent him to a smaller, catholic school where he received more individual attention. His parents also worked with him more at home. This worked well until he got into high school. There he figured out how to look at a textbook once or twice and pass a test on it. He figured out how to use the tricks within a test to get the right answers. While this gave him good test scores, he was learning very little. Developing this skill cheated him out of learning many fascinating and useful things. He is now one of the most intelligent people I know because partway through college he saw that he was missing a lot and the consequences of that. He decided to really begin to work at learning.

    I am another example of this. My first few years of school were at a public elementary school. I learn very quickly and so I became bored. Eventually I stopped paying any attention to doing any work. My teachers treated me like I was incapable of learning what I easily learned in five minutes. My parents then put me into a school for gifted and talented children and I slowly regained my love of learning. Neither of these are very unusual cases. The only thing that is unusual is that most children do not find ways of fixing the problem, they just continue to sit in the back of the room bored and never discover the joys of learning. My friend and I were lucky to have parents who gave us all of the opportunities that they could to allow us to learn.

    Grades cause children to feel dumb when they make mistakes. There are many brilliant children who get low grades simply because they don't do their homework. The teachers are then baffled when the child gets a good grade on a test. The students don't end up with good grades because they didn't do the homework, however they may have learned more than any other child in the class. So why do we have grades? If they aren't measuring learning, what are they for? All that they really do is measure who does the most homework and who gets into the good graces of the teacher. Many students are turned away from learning because of grades. Good grades must not be equated with learning because they are very different things.

The Renaissance: a Cultural Awakening through the Adventures of Space Exploration

This essay explores the Renaissance by blending its historical significance with the adventurous spirit of space exploration. It compares the revival of classical learning and artistic innovation in Renaissance Italy to the modern quest for knowledge in space missions. The essay highlights the parallels between Renaissance humanism and the aspirational drive of astronauts, as well as the transformation of art, literature, and science during both eras. It also draws connections between the educational reforms of the Renaissance and the interdisciplinary nature of astronaut training. Through this imaginative lens, the essay underscores the enduring power of creativity and curiosity to transform human understanding.

How it works

The Renaissance, a term derived from the French word for “rebirth,” represents an era of remarkable cultural and intellectual rejuvenation in Europe, spanning the 14th to the 17th century. This period witnessed a resurgence in the appreciation for classical knowledge, sparking revolutions in art, science, and society. To explore this transformative epoch through a unique lens, let’s merge the historical essence of the Renaissance with the boundless adventures of space exploration.

Italy, the epicenter of the Renaissance, saw the revival of classical learning and artistic innovation that paralleled the exploratory spirit of modern space missions.

Just as Renaissance thinkers looked to ancient Greece and Rome for inspiration, today’s astronauts and scientists gaze at the stars, driven by the same quest for knowledge and discovery. The Medici family of Florence, renowned patrons of the arts, can be likened to the mission controllers at NASA, fostering environments where creativity and innovation could flourish, much like how space agencies nurture scientific advancements.

Humanism, the intellectual bedrock of the Renaissance, emphasized the study of classical texts and the celebration of human potential. This philosophical shift mirrors the aspirational drive behind space exploration, where the limits of human capability are continually pushed. Both Renaissance humanists and space explorers share a common pursuit: understanding our place in the universe and unlocking the mysteries that lie beyond our immediate grasp.

Art during the Renaissance can be compared to the awe-inspiring imagery captured by space telescopes and satellites. Artists like Leonardo da Vinci and Michelangelo transcended medieval artistic conventions, exploring realism and human emotion with unprecedented depth. Their masterpieces, characterized by perspective and anatomical precision, reflect the same meticulous detail found in images of distant galaxies and nebulae. Leonardo’s sketches of human anatomy and mechanical inventions could be seen as the blueprints for spacecraft, blending imagination with engineering prowess.

Literature of the Renaissance, much like the narratives of space exploration, intertwined classical themes with contemporary issues, creating timeless stories that resonate through the ages. Writers like Dante, Petrarch, and Boccaccio crafted works that journeyed through realms both familiar and fantastical. In England, Shakespeare’s plays are akin to the epic tales of space adventures, where characters navigate the unknown, facing challenges that test their resolve and ingenuity. His exploration of human nature parallels the unpredictable and often perilous nature of space missions.

The Renaissance was also a period of scientific discovery, echoing the spirit of modern space exploration. Figures like Copernicus, Galileo, and Kepler challenged established views of the cosmos, much like contemporary astrophysicists and cosmologists question and expand our understanding of the universe. Their groundbreaking discoveries laid the foundations for modern science, despite facing resistance from traditional authorities. Similarly, the invention of the printing press by Johannes Gutenberg revolutionized the dissemination of knowledge, akin to how satellite communications and the internet have transformed the sharing of information in our era.

Education during the Renaissance evolved, much like our training for space exploration. Universities expanded their curricula beyond theology to include the humanities, fostering a culture of intellectual curiosity. This expansion mirrors the interdisciplinary nature of astronaut training, where knowledge of engineering, biology, physics, and even psychology is crucial. Renaissance education aimed to produce well-rounded individuals, much like the comprehensive preparation required for astronauts to navigate the complexities of space.

Religious transformations during the Renaissance reflect the introspective journey of space exploration. The Reformation, initiated by figures like Martin Luther, challenged the monolithic authority of the Catholic Church, promoting personal faith and direct engagement with religious texts. This shift parallels the introspective nature of space travel, where astronauts often reflect on humanity’s place in the cosmos and the fragility of life on Earth. The democratization of knowledge during the Renaissance mirrors the collaborative and open nature of contemporary space research, where discoveries are shared and built upon globally.

Alchemy, a precursor to modern chemistry, thrived during the Renaissance and can be seen as an early exploration of transformation, much like the transformative nature of space exploration. Alchemists sought to transmute base metals into gold and uncover the secrets of life, paralleling the way space missions transform our understanding of the universe and our technological capabilities. Figures like Paracelsus and John Dee, who blended science and mysticism, reflect the Renaissance spirit of integrating empirical investigation with speculative inquiry.

The culinary arts during the Renaissance also underwent significant transformation, much like the innovative approaches to food in space. The introduction of new spices and ingredients from the East revolutionized European cuisine, creating dishes that were as innovative as they were delicious. The Medici’s legendary feasts, blending traditional and novel elements, reflect the Renaissance fusion of old and new, much like how astronauts combine traditional foodstuffs with scientifically engineered nutrition to sustain themselves in space.

The development of the fork during the Renaissance, introduced to Italy from Byzantium, symbolizes the subtle yet profound shifts in daily life. This small innovation transformed dining habits, paralleling how advancements in space technology, such as the development of the International Space Station, have revolutionized our approach to living and working in space. The fork represents the Renaissance emphasis on refinement and sophistication, much like space exploration emphasizes precision and the complexity of life beyond Earth.

In conclusion, viewing the Renaissance through the lens of space exploration offers a unique perspective on this dynamic era. The period’s spirit of innovation, exploration, and rediscovery found expression not only in grand historical achievements but also in the adventurous and boundless pursuit of knowledge. The Renaissance and space exploration, though separated by centuries and disciplines, share a common thread: a relentless quest to expand the horizons of human understanding and a profound curiosity about the nature of existence. This imaginative fusion underscores the interconnectedness of human endeavors and the enduring power of creativity to transform our understanding of the world and beyond.

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Sat / act prep online guides and tips, 3 strong argumentative essay examples, analyzed.

General Education

Need to defend your opinion on an issue? Argumentative essays are one of the most popular types of essays you’ll write in school. They combine persuasive arguments with fact-based research, and, when done well, can be powerful tools for making someone agree with your point of view. If you’re struggling to write an argumentative essay or just want to learn more about them, seeing examples can be a big help.

After giving an overview of this type of essay, we provide three argumentative essay examples. After each essay, we explain in-depth how the essay was structured, what worked, and where the essay could be improved. We end with tips for making your own argumentative essay as strong as possible.

What Is an Argumentative Essay?

An argumentative essay is an essay that uses evidence and facts to support the claim it’s making. Its purpose is to persuade the reader to agree with the argument being made.

A good argumentative essay will use facts and evidence to support the argument, rather than just the author’s thoughts and opinions. For example, say you wanted to write an argumentative essay stating that Charleston, SC is a great destination for families. You couldn’t just say that it’s a great place because you took your family there and enjoyed it. For it to be an argumentative essay, you need to have facts and data to support your argument, such as the number of child-friendly attractions in Charleston, special deals you can get with kids, and surveys of people who visited Charleston as a family and enjoyed it. The first argument is based entirely on feelings, whereas the second is based on evidence that can be proven.

The standard five paragraph format is common, but not required, for argumentative essays. These essays typically follow one of two formats: the Toulmin model or the Rogerian model.

• The Toulmin model is the most common. It begins with an introduction, follows with a thesis/claim, and gives data and evidence to support that claim. This style of essay also includes rebuttals of counterarguments.
• The Rogerian model analyzes two sides of an argument and reaches a conclusion after weighing the strengths and weaknesses of each.

3 Good Argumentative Essay Examples + Analysis

Below are three examples of argumentative essays, written by yours truly in my school days, as well as analysis of what each did well and where it could be improved.

Argumentative Essay Example 1

Proponents of this idea state that it will save local cities and towns money because libraries are expensive to maintain. They also believe it will encourage more people to read because they won’t have to travel to a library to get a book; they can simply click on what they want to read and read it from wherever they are. They could also access more materials because libraries won’t have to buy physical copies of books; they can simply rent out as many digital copies as they need.

However, it would be a serious mistake to replace libraries with tablets. First, digital books and resources are associated with less learning and more problems than print resources. A study done on tablet vs book reading found that people read 20-30% slower on tablets, retain 20% less information, and understand 10% less of what they read compared to people who read the same information in print. Additionally, staring too long at a screen has been shown to cause numerous health problems, including blurred vision, dizziness, dry eyes, headaches, and eye strain, at much higher instances than reading print does. People who use tablets and mobile devices excessively also have a higher incidence of more serious health issues such as fibromyalgia, shoulder and back pain, carpal tunnel syndrome, and muscle strain. I know that whenever I read from my e-reader for too long, my eyes begin to feel tired and my neck hurts. We should not add to these problems by giving people, especially young people, more reasons to look at screens.

Second, it is incredibly narrow-minded to assume that the only service libraries offer is book lending. Libraries have a multitude of benefits, and many are only available if the library has a physical location. Some of these benefits include acting as a quiet study space, giving people a way to converse with their neighbors, holding classes on a variety of topics, providing jobs, answering patron questions, and keeping the community connected. One neighborhood found that, after a local library instituted community events such as play times for toddlers and parents, job fairs for teenagers, and meeting spaces for senior citizens, over a third of residents reported feeling more connected to their community. Similarly, a Pew survey conducted in 2015 found that nearly two-thirds of American adults feel that closing their local library would have a major impact on their community. People see libraries as a way to connect with others and get their questions answered, benefits tablets can’t offer nearly as well or as easily.

While replacing libraries with tablets may seem like a simple solution, it would encourage people to spend even more time looking at digital screens, despite the myriad issues surrounding them. It would also end access to many of the benefits of libraries that people have come to rely on. In many areas, libraries are such an important part of the community network that they could never be replaced by a simple object.

The author begins by giving an overview of the counter-argument, then the thesis appears as the first sentence in the third paragraph. The essay then spends the rest of the paper dismantling the counter argument and showing why readers should believe the other side.

What this essay does well:

• Although it’s a bit unusual to have the thesis appear fairly far into the essay, it works because, once the thesis is stated, the rest of the essay focuses on supporting it since the counter-argument has already been discussed earlier in the paper.
• This essay includes numerous facts and cites studies to support its case. By having specific data to rely on, the author’s argument is stronger and readers will be more inclined to agree with it.
• For every argument the other side makes, the author makes sure to refute it and follow up with why her opinion is the stronger one. In order to make a strong argument, it’s important to dismantle the other side, which this essay does this by making the author's view appear stronger.
• This is a shorter paper, and if it needed to be expanded to meet length requirements, it could include more examples and go more into depth with them, such as by explaining specific cases where people benefited from local libraries.
• Additionally, while the paper uses lots of data, the author also mentions their own experience with using tablets. This should be removed since argumentative essays focus on facts and data to support an argument, not the author’s own opinion or experiences. Replacing that with more data on health issues associated with screen time would strengthen the essay.
• Some of the points made aren't completely accurate , particularly the one about digital books being cheaper. It actually often costs a library more money to rent out numerous digital copies of a book compared to buying a single physical copy. Make sure in your own essay you thoroughly research each of the points and rebuttals you make, otherwise you'll look like you don't know the issue that well.

Argumentative Essay Example 2

There are multiple drugs available to treat malaria, and many of them work well and save lives, but malaria eradication programs that focus too much on them and not enough on prevention haven’t seen long-term success in Sub-Saharan Africa. A major program to combat malaria was WHO’s Global Malaria Eradication Programme. Started in 1955, it had a goal of eliminating malaria in Africa within the next ten years. Based upon previously successful programs in Brazil and the United States, the program focused mainly on vector control. This included widely distributing chloroquine and spraying large amounts of DDT. More than one billion dollars was spent trying to abolish malaria. However, the program suffered from many problems and in 1969, WHO was forced to admit that the program had not succeeded in eradicating malaria. The number of people in Sub-Saharan Africa who contracted malaria as well as the number of malaria deaths had actually increased over 10% during the time the program was active.

One of the major reasons for the failure of the project was that it set uniform strategies and policies. By failing to consider variations between governments, geography, and infrastructure, the program was not nearly as successful as it could have been. Sub-Saharan Africa has neither the money nor the infrastructure to support such an elaborate program, and it couldn’t be run the way it was meant to. Most African countries don't have the resources to send all their people to doctors and get shots, nor can they afford to clear wetlands or other malaria prone areas. The continent’s spending per person for eradicating malaria was just a quarter of what Brazil spent. Sub-Saharan Africa simply can’t rely on a plan that requires more money, infrastructure, and expertise than they have to spare.

Additionally, the widespread use of chloroquine has created drug resistant parasites which are now plaguing Sub-Saharan Africa. Because chloroquine was used widely but inconsistently, mosquitoes developed resistance, and chloroquine is now nearly completely ineffective in Sub-Saharan Africa, with over 95% of mosquitoes resistant to it. As a result, newer, more expensive drugs need to be used to prevent and treat malaria, which further drives up the cost of malaria treatment for a region that can ill afford it.

Instead of developing plans to treat malaria after the infection has incurred, programs should focus on preventing infection from occurring in the first place. Not only is this plan cheaper and more effective, reducing the number of people who contract malaria also reduces loss of work/school days which can further bring down the productivity of the region.

One of the cheapest and most effective ways of preventing malaria is to implement insecticide-treated bed nets (ITNs).  These nets provide a protective barrier around the person or people using them. While untreated bed nets are still helpful, those treated with insecticides are much more useful because they stop mosquitoes from biting people through the nets, and they help reduce mosquito populations in a community, thus helping people who don’t even own bed nets.  Bed nets are also very effective because most mosquito bites occur while the person is sleeping, so bed nets would be able to drastically reduce the number of transmissions during the night. In fact, transmission of malaria can be reduced by as much as 90% in areas where the use of ITNs is widespread. Because money is so scarce in Sub-Saharan Africa, the low cost is a great benefit and a major reason why the program is so successful. Bed nets cost roughly 2 USD to make, last several years, and can protect two adults. Studies have shown that, for every 100-1000 more nets are being used, one less child dies of malaria. With an estimated 300 million people in Africa not being protected by mosquito nets, there’s the potential to save three million lives by spending just a few dollars per person.

Reducing the number of people who contract malaria would also reduce poverty levels in Africa significantly, thus improving other aspects of society like education levels and the economy. Vector control is more effective than treatment strategies because it means fewer people are getting sick. When fewer people get sick, the working population is stronger as a whole because people are not put out of work from malaria, nor are they caring for sick relatives. Malaria-afflicted families can typically only harvest 40% of the crops that healthy families can harvest. Additionally, a family with members who have malaria spends roughly a quarter of its income treatment, not including the loss of work they also must deal with due to the illness. It’s estimated that malaria costs Africa 12 billion USD in lost income every year. A strong working population creates a stronger economy, which Sub-Saharan Africa is in desperate need of.  

This essay begins with an introduction, which ends with the thesis (that malaria eradication plans in Sub-Saharan Africa should focus on prevention rather than treatment). The first part of the essay lays out why the counter argument (treatment rather than prevention) is not as effective, and the second part of the essay focuses on why prevention of malaria is the better path to take.

• The thesis appears early, is stated clearly, and is supported throughout the rest of the essay. This makes the argument clear for readers to understand and follow throughout the essay.
• There’s lots of solid research in this essay, including specific programs that were conducted and how successful they were, as well as specific data mentioned throughout. This evidence helps strengthen the author’s argument.
• The author makes a case for using expanding bed net use over waiting until malaria occurs and beginning treatment, but not much of a plan is given for how the bed nets would be distributed or how to ensure they’re being used properly. By going more into detail of what she believes should be done, the author would be making a stronger argument.
• The introduction of the essay does a good job of laying out the seriousness of the problem, but the conclusion is short and abrupt. Expanding it into its own paragraph would give the author a final way to convince readers of her side of the argument.

Argumentative Essay Example 3

There are many ways payments could work. They could be in the form of a free-market approach, where athletes are able to earn whatever the market is willing to pay them, it could be a set amount of money per athlete, or student athletes could earn income from endorsements, autographs, and control of their likeness, similar to the way top Olympians earn money.

Proponents of the idea believe that, because college athletes are the ones who are training, participating in games, and bringing in audiences, they should receive some sort of compensation for their work. If there were no college athletes, the NCAA wouldn’t exist, college coaches wouldn’t receive there (sometimes very high) salaries, and brands like Nike couldn’t profit from college sports. In fact, the NCAA brings in roughly $1 billion in revenue a year, but college athletes don’t receive any of that money in the form of a paycheck. Additionally, people who believe college athletes should be paid state that paying college athletes will actually encourage them to remain in college longer and not turn pro as quickly, either by giving them a way to begin earning money in college or requiring them to sign a contract stating they’ll stay at the university for a certain number of years while making an agreed-upon salary.  

Supporters of this idea point to Zion Williamson, the Duke basketball superstar, who, during his freshman year, sustained a serious knee injury. Many argued that, even if he enjoyed playing for Duke, it wasn’t worth risking another injury and ending his professional career before it even began for a program that wasn’t paying him. Williamson seems to have agreed with them and declared his eligibility for the NCAA draft later that year. If he was being paid, he may have stayed at Duke longer. In fact, roughly a third of student athletes surveyed stated that receiving a salary while in college would make them “strongly consider” remaining collegiate athletes longer before turning pro.

Paying athletes could also stop the recruitment scandals that have plagued the NCAA. In 2018, the NCAA stripped the University of Louisville's men's basketball team of its 2013 national championship title because it was discovered coaches were using sex workers to entice recruits to join the team. There have been dozens of other recruitment scandals where college athletes and recruits have been bribed with anything from having their grades changed, to getting free cars, to being straight out bribed. By paying college athletes and putting their salaries out in the open, the NCAA could end the illegal and underhanded ways some schools and coaches try to entice athletes to join.

People who argue against the idea of paying college athletes believe the practice could be disastrous for college sports. By paying athletes, they argue, they’d turn college sports into a bidding war, where only the richest schools could afford top athletes, and the majority of schools would be shut out from developing a talented team (though some argue this already happens because the best players often go to the most established college sports programs, who typically pay their coaches millions of dollars per year). It could also ruin the tight camaraderie of many college teams if players become jealous that certain teammates are making more money than they are.

They also argue that paying college athletes actually means only a small fraction would make significant money. Out of the 350 Division I athletic departments, fewer than a dozen earn any money. Nearly all the money the NCAA makes comes from men’s football and basketball, so paying college athletes would make a small group of men--who likely will be signed to pro teams and begin making millions immediately out of college--rich at the expense of other players.

Those against paying college athletes also believe that the athletes are receiving enough benefits already. The top athletes already receive scholarships that are worth tens of thousands per year, they receive free food/housing/textbooks, have access to top medical care if they are injured, receive top coaching, get travel perks and free gear, and can use their time in college as a way to capture the attention of professional recruiters. No other college students receive anywhere near as much from their schools.

People on this side also point out that, while the NCAA brings in a massive amount of money each year, it is still a non-profit organization. How? Because over 95% of those profits are redistributed to its members’ institutions in the form of scholarships, grants, conferences, support for Division II and Division III teams, and educational programs. Taking away a significant part of that revenue would hurt smaller programs that rely on that money to keep running.

While both sides have good points, it’s clear that the negatives of paying college athletes far outweigh the positives. College athletes spend a significant amount of time and energy playing for their school, but they are compensated for it by the scholarships and perks they receive. Adding a salary to that would result in a college athletic system where only a small handful of athletes (those likely to become millionaires in the professional leagues) are paid by a handful of schools who enter bidding wars to recruit them, while the majority of student athletics and college athletic programs suffer or even shut down for lack of money. Continuing to offer the current level of benefits to student athletes makes it possible for as many people to benefit from and enjoy college sports as possible.

This argumentative essay follows the Rogerian model. It discusses each side, first laying out multiple reasons people believe student athletes should be paid, then discussing reasons why the athletes shouldn’t be paid. It ends by stating that college athletes shouldn’t be paid by arguing that paying them would destroy college athletics programs and cause them to have many of the issues professional sports leagues have.

• Both sides of the argument are well developed, with multiple reasons why people agree with each side. It allows readers to get a full view of the argument and its nuances.
• Certain statements on both sides are directly rebuffed in order to show where the strengths and weaknesses of each side lie and give a more complete and sophisticated look at the argument.
• Using the Rogerian model can be tricky because oftentimes you don’t explicitly state your argument until the end of the paper. Here, the thesis doesn’t appear until the first sentence of the final paragraph. That doesn’t give readers a lot of time to be convinced that your argument is the right one, compared to a paper where the thesis is stated in the beginning and then supported throughout the paper. This paper could be strengthened if the final paragraph was expanded to more fully explain why the author supports the view, or if the paper had made it clearer that paying athletes was the weaker argument throughout.

3 Tips for Writing a Good Argumentative Essay

Now that you’ve seen examples of what good argumentative essay samples look like, follow these three tips when crafting your own essay.

#1: Make Your Thesis Crystal Clear

The thesis is the key to your argumentative essay; if it isn’t clear or readers can’t find it easily, your entire essay will be weak as a result. Always make sure that your thesis statement is easy to find. The typical spot for it is the final sentence of the introduction paragraph, but if it doesn’t fit in that spot for your essay, try to at least put it as the first or last sentence of a different paragraph so it stands out more.

Also make sure that your thesis makes clear what side of the argument you’re on. After you’ve written it, it’s a great idea to show your thesis to a couple different people--classmates are great for this. Just by reading your thesis they should be able to understand what point you’ll be trying to make with the rest of your essay.

#2: Show Why the Other Side Is Weak

When writing your essay, you may be tempted to ignore the other side of the argument and just focus on your side, but don’t do this. The best argumentative essays really tear apart the other side to show why readers shouldn’t believe it. Before you begin writing your essay, research what the other side believes, and what their strongest points are. Then, in your essay, be sure to mention each of these and use evidence to explain why they’re incorrect/weak arguments. That’ll make your essay much more effective than if you only focused on your side of the argument.

#3: Use Evidence to Support Your Side

Remember, an essay can’t be an argumentative essay if it doesn’t support its argument with evidence. For every point you make, make sure you have facts to back it up. Some examples are previous studies done on the topic, surveys of large groups of people, data points, etc. There should be lots of numbers in your argumentative essay that support your side of the argument. This will make your essay much stronger compared to only relying on your own opinions to support your argument.

Summary: Argumentative Essay Sample

Argumentative essays are persuasive essays that use facts and evidence to support their side of the argument. Most argumentative essays follow either the Toulmin model or the Rogerian model. By reading good argumentative essay examples, you can learn how to develop your essay and provide enough support to make readers agree with your opinion. When writing your essay, remember to always make your thesis clear, show where the other side is weak, and back up your opinion with data and evidence.

What's Next?

Do you need to write an argumentative essay as well? Check out our guide on the best argumentative essay topics for ideas!

You'll probably also need to write research papers for school. We've got you covered with 113 potential topics for research papers.

Your college admissions essay may end up being one of the most important essays you write. Follow our step-by-step guide on writing a personal statement to have an essay that'll impress colleges.

Christine graduated from Michigan State University with degrees in Environmental Biology and Geography and received her Master's from Duke University. In high school she scored in the 99th percentile on the SAT and was named a National Merit Finalist. She has taught English and biology in several countries.

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