lens for essay

Writing a “Lens” Essay

This handout provides suggestions for writing papers or responses that ask you to analyze a text through the lens of a critical or theoretical secondary source.

Generally, the lens should reveal something about the original or “target” text that may not be otherwise apparent. Alternatively, your analysis may call the validity of the arguments of the lens piece into question, extend the arguments of the lens text, or provoke some other reevaluation of the two texts. Either way, you will be generating a critical “dialogue between texts.”

Reading the Texts

Since you will eventually want to hone in on points of commonality and discord between the two texts, the order and manner in which you read them is crucial.

First, read the lens text to identify the author’s core arguments and vocabulary. Since theoretical or critical texts tend to be dense and complex, it may be helpful to develop an outline of the author’s primary points. According the to Brandeis Writing Program Handbook, a valuable lens essay will “grapple with central ideas” of the lens text, rather than dealing with isolated quotes that may or may not be indicative of the author’s argument as a whole. As such, it’s important to make sure you truly understand and can articulate the author’s main points before proceeding to the target text.

Next, quickly read the target text to develop a general idea of its content. Then, ask yourself: Where do I see general points of agreement or disagreement between the two texts? Which of the lens text’s main arguments could be applied to the target text? It may be easier to focus on one or two of the lens text’s central arguments. 

With these ideas in mind, go back and read the target text carefully, through the theoretical lens, asking yourself the following questions: What are the main components of the lens text and what are their complementary parts in the target text? How can I apply the lens author’s theoretical vocabulary or logic to instances in the target text? Are there instances where the lens text’s arguments don’t or can’t apply? Why is this? It is helpful to keep a careful, written record of page numbers, quotes, and your thoughts and reactions as you read.

Since this type of paper deals with a complex synthesis of multiple sources, it is especially important to have a clear plan of action before you begin writing. It may help to group quotes or events by subject matter, by theme, or by whether they support, contradict, or otherwise modify the arguments in the lens text. Hopefully, common themes, ideas, and arguments will begin to emerge and you can start drafting!

Writing the Introduction and Thesis

As your paper concerns the complex interactions between multiple texts, it is important to explain what you will be doing the introduction. Make sure to clearly introduce the lens text and its specific arguments you will be employing or evaluating. Then introduce the target text and its specific themes or events you will be addressing in your analysis. 

These introductions of texts and themes should lead into some kind of thesis statement. Though there are no set guidelines or conventions for what this thesis should look like, make sure it states the points of interaction you will be discussing, and explains what your critical or theoretical analysis of the target text reveals about the texts.

Writing the Body

The body is where you apply specific arguments from the lens text to specific quotes or instances in the target text. In each case, make sure to discuss what the lens text reveals about the target text (or vice versa). Use the lens text’s vocabulary and logical framework to examine the target text, but make sure to be clear about where ideas in the paper are coming from (the lens text, the target text, your own interpretation etc.) so the reader doesn’t become confused.

By engaging in this type of analysis, you are “entering an academic conversation” and inserting your own ideas. As this is certainly easier said than done, Gerald Graff and Cathy Birkenstein’s concept of “Templates” may prove useful. In their book, They Say, I Say, the authors lay out numerous templates to help writers engage in unfamiliar forms of critical academic discourse. They encourage students to use the templates in any capacity they find useful, be it filling them in verbatim, modifying and extending them, or using them as an analytical entry point, then discarding them completely.

Here I modify their basic template (They say ________. I say ________.), to create lens essay-specific templates to help you get started:

The author of the lens text lays out a helpful framework for understanding instances of ________ in the target text. Indeed, in the target text, one sees ________, which could be considered an example of ________ by the lens author’s definition. Therefore, we see a point of commonality concerning ________. This similarity reveals ________.

According to the lens text _______ tends to occur in situations where _______. By the lens author’s definition, ________ in the target text could be considered an instance of _______. However, this parallel is imperfect because _______. As such, we become aware of ________.

One sees ________ in the target text, which calls the lens author’s argument that ________ into question because ________.

If the author of the lens text is correct that ________, one would expect to see ________ in the target text. However, ________ actually takes place, revealing a critical point of disagreement. This discord suggests that ________. This issue is important because ________.

Wrapping Things up and Drawing Conclusions

By this point in your essay, you should be drawing conclusions regarding what your lens analysis reveals about the texts in questions, or the broader issues the texts address. Make sure to explain why these discoveries are important for the discipline in which you are writing. In other words, what was the point of carrying out your analysis in the first place? Happy lens writing!

Brandeis UWS Writing Handbook, 70.

UWS Handbook, 76.

Birkenstein, Cathy and Gerald Graff, They Say, I Say. (New York: W. W. Norton & Company, 2007), 2-3.

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How to Write a Critical Lens Essay Successfully Step by Step

Critical lens essay writing is a type of literary analysis where the writer is required to analyze and interpret a specific piece of literature or a quote. The essay typically involves discussing the meaning of the quote and how it relates to two literary works. The author is expected to use literary elements and techniques to support their interpretation and provide evidence from the texts.

The term "critical lense" refers to the perspective or lenses through which the scribe views and analyzes the literature. It often involves exploring the cultural, historical, or philosophical context of the works being analyzed. The goal is to demonstrate a deep understanding of the literature and present a well-argued interpretation.

In this guide, we’ll explore such crucial aspects of how to write critical lens essay, its definition, format, and samples. Just in case you’re in a big hurry, here’s a link to our essay writer service that can help you cope with a task at hand quickly and effortlessly.  

What Is a Critical Lens Essay and How to Write It

A critical lens analysis is a form of literary exploration that challenges students to interpret and analyze a specific quote, known as the "lens," and apply it to two pieces of literature. This type of composition aims to assess a student's understanding of literary elements, themes, and the broader implications of the chosen quote. Effectively producing a research paper involves several key steps, each contributing to a comprehensive and insightful analysis. 

The critical lens meaning is to provide a unique perspective into the complexities of literature. It goes beyond mere summarization, urging students to explore the layers of meaning embedded within the chosen quote and its application to literary works. Unveiling the assignment's meaning requires a keen eye for nuance and an appreciation for the intricate dance between language and interpretation.

Knowing how to write a lens essay involves mastering the art of interpretation. As students embark on this literary journey, the process of achieving this task becomes integral. It demands an exploration of the chosen quote's implications, an in-depth analysis of its resonance with the selected literature, and a thoughtful synthesis of ideas. A step-by-step approach is crucial, from deciphering the meaning to meticulously weaving insights into a cohesive and compelling narrative.

A lens analysis is more than a scholarly exercise; it's a nuanced exploration of the intersections between literature and life. It prompts students to unravel the layers of meaning embedded within the viewpoint, dissecting its implications for characters, themes, and overarching narratives. This analytical journey not only refines academic skills but also cultivates a deeper appreciation for the profound impact literature can have on our understanding of the human experience.

Step-by-Step Writing Guide

In this guide, we will explore the assignment’s prerequisites and outline five steps to help students understand how to write a critical lens essay.

STEP 1 - Understand the Critical Lens Quote

The journey of crafting a compelling draft begins with a deep understanding of the chosen quote or viewpoint. This quote typically embodies a philosophical or thematic idea that serves as a foundation for analyzing the selected literary works. Students should dissect the quote, exploring its nuances, underlying meanings, and potential applications to literature.

STEP 2 - Select Appropriate Literary Works

Once the sources are comprehended, the next step is to select two literary works that can be effectively analyzed through this framework. Choosing appropriate texts is crucial, as they should offer rich content and thematic depth, allowing for a comprehensive exploration. Students must consider how the texts align with and diverge from the central ideas presented in the quote.

STEP 3 - Interpret the Chosen Texts

With the literary works in hand, students embark on a close reading and analysis of the selected texts. This involves identifying key themes, characters, literary devices, and narrative elements within each work. The goal is to understand how each text relates to the material and to uncover the deeper meanings encapsulated in the literature.

STEP 4 - Write a Thesis Statement for Your Critical Lens Essay

The thesis statement is the compass guiding the entire document. It should succinctly capture the composer’s interpretation of the original source and how it applies to the chosen texts. A well-crafted thesis statement not only outlines the focus of the essay but also provides a roadmap for the subsequent analysis, showcasing the author’s unique perspective.

STEP 5 - Structure the Essay Effectively

The final step involves organizing the tract into a coherent and persuasive structure. A well-structured article typically includes an introduction, body paragraphs, and a conclusion. In the introduction, students present their interpretation, introduce the chosen texts, and offer a clear thesis statement. Body paragraphs delve into specific aspects of lenses and their application to each text, supported by relevant evidence and analysis. The conclusion synthesizes the key findings, reinforces the thesis, and leaves a lasting impression on the reader.

A successful article requires a meticulous approach to interpreting the quote, selecting appropriate literary works, closely analyzing the texts, crafting a robust thesis statement, and structuring the document effectively. By following these five key steps, students can develop a well-rounded and insightful article that not only demonstrates their understanding of literature but also showcases their ability to apply analytical thinking skills to literary analysis. Should you find the process challenging, simply contact us and say, ‘ Write an essay for me ,’ so we can find you a perfect writer for the job.

Critical Lens Essay Outline

Creating a comprehensive lens essay outline is an essential preparatory step that helps students organize their thoughts and ensures a well-structured effort. Below is a suggested outline, dividing the task into logical sections:

Introduction:

• Hook: Begin with a captivating hook or quote to engage the reader.
• Quote: Introduce the chosen quote, providing context and potential interpretations.
• Interpretation: Offer your initial interpretation and its implications.
• Thesis Statement: Clearly state your thesis, outlining how the document applies to the chosen literary works.

Body Paragraphs:

Paragraph 1: First Literary Work

• Brief Overview: Provide a concise summary of the first literary work.
• Connection to Critical Lens: Analyze how it applies to this text.
• Evidence: Incorporate relevant quotes or examples from the text to support your analysis.
• Interpretation: Discuss the deeper meanings revealed through the analysis.

Paragraph 2: Second Literary Work

• Brief Overview: Summarize the second literary work.
• Connection to Critical Lens: Examine how it is reflected in this text.
• Evidence: Include specific quotes or instances from the text to bolster your analysis.
• Interpretation: Explore the profound implications illuminated by the material.

Paragraph 3: Comparative Analysis

• Common Themes: Identify shared themes or patterns between the two works.
• Differences: Highlight key differences and divergent interpretations.
• Unity: Emphasize how both work collectively to reinforce the analysis.
• Counterargument.

Conclusion:

• Recapitulation: Summarize the main points discussed in the body paragraphs.
• Thesis Restatement: Reiterate your thesis in a compelling manner.
• Concluding Thoughts: Offer final reflections on the broader implications of your analysis.

By adhering to this outline, students can systematically approach their essays, ensuring a coherent and well-supported exploration of the chosen perspective and literary works. The outline serves as a roadmap, guiding the author through each essential element and facilitating a more organized and impactful final product. You will also benefit from learning how to write a character analysis essay because this guide also offers a lot of useful tips.

Introduction

The introduction plays a pivotal role in capturing the reader's attention and establishing the foundation for the ensuing analysis. Begin with a compelling hook or a thought-provoking quote that relates to the chosen perspective. Following the hook, introduce the quote itself, providing the necessary context and initial interpretations. This is also the space to present the thesis statement, succinctly outlining how the outlook applies to the literary works under examination. The thesis should offer a roadmap for the reader, indicating the key themes or ideas that will be explored in the body paragraphs.

The main body paragraphs constitute the heart of the article, where the essayist delves into a detailed analysis of the chosen literary works through the framework provided. Each body paragraph should focus on a specific literary work, providing a brief overview, connecting it to the perspective, presenting evidence from the text, and offering interpretations. Use clear topic sentences to guide the reader through each paragraph's main idea. Strive for a balance between summarizing the text and analyzing how it aligns with the outlook. If applicable, include a comparative analysis paragraph that explores common themes or differences between the two works. This section requires a careful integration of textual evidence and insightful commentary. Keep in mind that learning the ins and outs of a literary analysis essay might also help you improve your overall written skills, so check it out, too!

The conclusion serves as a synthesis of the analysis, offering a concise recapitulation of the main points explored in the body paragraphs. Begin by summarizing the key findings and interpretations, reinforcing how each literary work aligns with the work’s angle. Restate the thesis in a conclusive manner, emphasizing the overarching themes that have emerged from the analysis. Beyond a mere recap, the conclusion should provide broader insights into the implications of the outlook, encouraging readers to contemplate the universal truths or societal reflections brought to light. A strong conclusion leaves a lasting impression, prompting reflection on the interconnectedness of literature and the perspectives that illuminate its depth.

Critical Lens Essay Example

Final Remark 

Through the exploration of literary works, students not only refine their understanding of diverse perspectives but also develop essential analytical thinking skills. The ability to decipher, analyze, and articulate the underlying themes and conflicts within literature positions students as adept communicators and thinkers.

Armed with the skills cultivated in dissecting and interpreting texts, students gain a formidable ally in the pursuit of effective communication. By committing to harnessing the insights gained through this assignment, students empower themselves to produce richer, more nuanced pieces. 

How to Write a Thesis Statement for Your Critical Lens Essay?

How does using a critical lens essay help writers, what are the best critical lens essay examples.

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How to Write a Lens Essay

Sophie levant, 25 jun 2018.

Look closely at literature, and you may see a new world below the surface. In high school or college, a teacher may ask you to do this by writing a lens essay. A lens essay is a type of comparative paper that analyzes one text through the viewpoints expressed in another. Composing an effective one is difficult even for the most seasoned of writers. However, it is an incredible intellectual exercise through which you will not only improve your writing skills but your critical reading and thinking skills as well.

Explore this article

• Read the Lens Text
• Read the Focus Text
• Take a Closer Look
• Construct Your Thesis
• Compose the Body of Your Essay
• Sum Up Your Ideas
• Revise and Edit

things needed

• Your two texts
• Pen and paper

1 Read the Lens Text

Begin by reading the text you plan to use as your viewpoint. Take note of strong opinions, assumptions and justifications. Clear, concise notes about this section will help when using this text as a lens and when writing your final essay, so make sure your notes are accurate.

2 Read the Focus Text

Read the second work once, making note of its important details. Look back at your notes from the lens text, and read the focus text again with the lens text in mind. Use active reading skills such as writing questions in the margins and determining the purpose of each paragraph.

3 Take a Closer Look

Here are a few questions to consider when analyzing the content of your focus text: How does the lens text serve to shed light on the second text? Does it criticize it or support it? If the two pieces were written during different periods in history, consider the era in which the lens was written and how it affects the opinions or points made in the second. Consider the lives of the authors and how their differences might inform their writing.

4 Construct Your Thesis

With your notes in hand, construct your thesis statement. Using details from the both texts as context clues, determine how the author of the lens text would view the assertions of the focal text. Construct this view as a statement that includes the details expounded upon in the body paragraphs of your essay. At the same time, keep your thesis statement as clear and simple as you can. Your thesis statement is the roadmap to the rest of your paper. Its clarity and concision will help your reader understand what to expect.

5 Compose the Body of Your Essay

Write the body. A lens essay is typically constructed on a text-by-text basis. Concentrate on presenting the lens in the first paragraphs. In the following, present the second text as viewed through the lens. How do your points support the thesis? Make sure to include evidence for your assertions.

6 Sum Up Your Ideas

Write the conclusion. Restate your thesis first, then sum up the main points of your paper. Be sure to make what you have said meaningful. Don't let the paper fizzle out, but don't introduce new information either.

7 Revise and Edit

Read over your work at least once, first paying attention to content and inconsistencies in your argument. Make additions and corrections, and then proofread your work. Correct errors in style and grammar, and make sure your prose reads fluently. When in doubt, ask a friend to read your paper. Sometimes another set of eyes can catch mistakes that yours don't.

• It is always well worth your time to proofread and edit your paper before submission. Not only can you correct any errors in style and grammar, but inconsistencies in your argument as well.
• 1 Brandeis University: The Lens Essay
• 2 The McGraw Center for Teaching and Learning: Active Reading Strategies

About the Author

Sophie Levant is a freelance writer based in Michigan. Having attended Michigan State University, her interests include history classical music, travel, and the German language. Her work has been published at eHow and Travels.

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What Is A Lens In Writing? (The Ultimate Guide)

Ever feel like your writing is stuck in a one-dimensional rut? Then you need to use a lens.

What is a lens in writing?

A lens in writing is a tool that shifts your perspective, like looking through a kaleidoscope. Writing lenses include historical, psychological, and critical. Use a writing lens to analyze, interpret, and craft richer, more engaging writing.

Buckle up, language enthusiast, because this ultimate guide dives deep into the fascinating world of writing lenses.

What Is a Lens in Writing? (10 Types)

Table of Contents

Think of a lens as a specific viewpoint or approach you adopt while writing.

It guides how you dissect information, select arguments, and craft your message.

Whether you analyze literature, dissect historical events, or craft marketing copy, lenses offer unique filters through which you process and present your ideas.

To simplify your journey, I’ve compiled a handy chart outlining 10 popular lenses:

Go ahead, bookmark this chart! It’s your cheat sheet to unlocking a universe of creative perspectives.

Now, let’s explore each lens, equipping you to wield them like a writing ninja.

Through the Lens of Time: The Historical Lens

What it is: The historical lens transports you to the past, examining your topic within the context of its era. This involves considering the social, political, and cultural factors that shaped events and influenced individuals.

How to use it: Research the historical context: dig into primary sources like documents, letters, and diaries. Analyze social norms, political structures, and major events of the time period. Consider how these factors influenced your topic and how your understanding might differ from a modern perspective.

Example: Analyzing a Shakespearean play through the historical lens involves understanding Elizabethan social hierarchy, religious beliefs, and theatrical conventions. This helps you interpret character motivations, plot developments, and the play’s overall message within its historical context.

Unveiling the Mind: The Psychological Lens

What it is: The psychological lens delves into the inner workings of the human mind, exploring characters’ motivations, behaviors, and mental states. It draws on psychological theories to analyze their actions, reactions, and thought processes.

How to use it: Identify key characters and their actions. Apply relevant psychological theories, such as Freudian psychoanalysis or cognitive-behavioral therapy, to explain their motivations. Analyze how their experiences and environment shape their behavior and mental state.

Example: Examining Hamlet’s indecisiveness and introspection through a psychological lens could involve applying Freudian concepts like the Oedipus complex and existential anxieties. This deepens your understanding of his character and the play’s exploration of human nature.

Decoding Social Structures: The Sociological Lens

What it is: The sociological lens focuses on the interactions, norms, and power dynamics within communities and societies. It examines how individuals and groups relate to each other, considering factors like social class, race, gender, and cultural values.

How to use it: Identify the social context of your topic: analyze social structures, power dynamics, and potential conflicts within the group or society. Consider how these factors influence individual experiences and group behaviors. Apply sociological theories like conflict theory or symbolic interactionism to explain observations.

Example: Analyzing a social media trend through the sociological lens might involve examining how it reflects broader cultural values, power dynamics between different groups, and the role of technology in shaping social interactions.

Weighing Wallets and Resources: The Economic Lens

What it is: The economic lens analyzes the financial aspects of a topic, focusing on production, consumption, and distribution of resources. It considers factors like market forces, economic policies, and social inequalities.

How to use it: Identify the economic context: analyze relevant economic concepts like supply and demand, resource allocation, and market structures. Explore how economic factors influence your topic and the individuals involved. Consider potential economic consequences of different actions or policies.

Example: Evaluating the impact of climate change through the economic lens might involve analyzing its effects on different industries, economic losses due to extreme weather events, and potential costs of implementing mitigation strategies.

Unveiling Power Plays: The Political Lens

What it is: The political lens examines the dynamics of power, governance, and influence within a political system. It analyzes how decisions are made, power is distributed, and individuals or groups compete for influence.

How to use it: Identify the political context: understand the structure of government, key political actors, and prevailing ideologies. Analyze how political dynamics influence your topic and the individuals involved. Consider potential political implications of different actions or policies.

Example: Examining a protest movement through the political lens might involve analyzing its demands in relation to existing power structures, the influence of political parties, and potential responses from the government.

Beyond Biology: The Gender Lens

What it is: The gender lens analyzes how gender identities, roles, and expectations shape experiences and social structures. It examines how individuals and groups are affected by societal norms and power dynamics related to gender.

How to use it: Identify the gender context: analyze dominant societal expectations for different genders, consider power dynamics and potential inequalities. Explore how gender roles and identities influence your topic and the individuals involved.

Example: Analyzing a novel through the gender lens might involve examining how female characters challenge or conform to societal expectations, exploring the portrayal of masculinity, and questioning power dynamics between genders.

Understanding Shared Values: The Cultural Lens

What it is: The cultural lens delves into the shared beliefs, values, and practices of a particular group or society. It examines how cultural norms, traditions, and customs shape experiences and behaviors.

How to use it: Identify the cultural context: research the specific belief systems, traditions, and values relevant to your topic and target audience. Analyze how cultural factors influence the perception and interpretation of your topic.

Example: Comparing advertising strategies across different cultures through the cultural lens might involve examining how humor, color symbolism, and family dynamics differ and how these differences impact marketing effectiveness.

The Power of Words: The Rhetorical Lens

What it is: The rhetorical lens analyzes how language is used to persuade, inform, or entertain. It examines the speaker’s purpose, strategies, and techniques to achieve their desired effect on the audience.

How to use it: Identify the speaker’s purpose and target audience. Analyze the language used, considering elements like tone, imagery, and emotional appeals. Evaluate the effectiveness of the speaker’s strategies in achieving their desired response.

Example: Analyzing a political speech through the rhetorical lens might involve examining how the speaker uses persuasive techniques like repetition, emotional appeals, and logical arguments to influence the audience’s opinion.

Preserving Our Planet: The Environmental Lens

What it is: The environmental lens considers the impact of human actions on the natural world. It examines issues like sustainability, resource management, and ecological consequences of human activities.

How to use it: Identify the environmental context: analyze the ecological impact of your topic and consider relevant environmental issues. Explore potential solutions and sustainable practices related to your topic.

Example: Evaluating the social impact of a new technology through the environmental lens might involve considering its energy consumption, potential pollution, and impact on biodiversity and resource depletion.

Shaping the Future: The Technological Lens

What it is: The technological lens examines the role of technology in society, focusing on its development, impact, and ethical implications. It analyzes how technology shapes our lives and raises important questions about its future evolution.

How to use it: Identify the technological context: understand the specific technology and its development stage. Analyze the social, economic, and ethical implications of its use. Consider potential future scenarios and responsible tech development practices.

Example: Discussing the potential benefits and risks of artificial intelligence through the technological lens might involve analyzing its impact on jobs, automation, and potential biases, highlighting the need for ethical considerations in its development and deployment.

Remember, these are just a few of the many writing lenses available. With practice and exploration, you can unlock a world of creative possibilities, enriching your writing and engaging your audience with diverse perspectives.

What Is a Critical Lens in Writing?

A critical lens is, in essence, a specific perspective or approach you adopt to critically examine a topic or text.

It acts as a filter, guiding how you analyze information, evaluate arguments, and ultimately shape your understanding.

Unlike mere summaries or descriptions, critical lenses encourage in-depth questioning, pushing you beyond surface-level observations to unearth deeper meanings and underlying assumptions.

Think of it this way: Imagine examining a painting through a magnifying glass.

While you could simply describe the colors and shapes, the magnifying glass allows you to closely scrutinize brushstrokes, textures, and hidden details, revealing the artist’s technique and message in a nuanced way.

Similarly, critical lenses empower you to zoom in on information, dissecting its layers and uncovering its deeper significance.

But remember, critical lenses are not about imposing a singular “correct” interpretation.

Watch this video about writing a critical lens essay:

Final Thoughts: What Is a Lens in Writing?

Don’t be afraid to experiment, break the mold, and see the world through a new lens. Write on!

Read This Next:

• What Is A Universal Statement In Writing? (Explained)
• What Is Writing Style? (Easy Guide for Beginners)
• What Is a Snapshot in Writing? (Easy Guide + 10 Examples)
• Tag Writing (Ultimate Guide for Beginners)

The Barker Underground

Writing advice from the harvard college writing center tutors, the four parts of a lens essay argument.

by Emily Hogin

One of the most common prompts I see at the Writing Center is the “lens essay.” A lens essay brings two texts in dialogue with one another in a very particular way. It asks you to use Text B – the lens – to illuminate something you didn’t already know about Text A.

How Not to Argue a Lens Essay

A lens essay is not a list of differences and similarities between two texts. The following are some (exaggerated) examples of a bad argument for a lens essay I’ve come across at the Writing Center:

Even though one is philosophy and the other is a novel, both Text A and Text B talk about the imagination.

This first thesis statement notes a similarity between the two texts that will likely be obvious to readers of the text. It doesn’t use one text to illuminate anything about the other.

While both Text A and Text B argue that human nature is unchangeable, Text A asserts that humans are inherently good and Text B asserts that humans are inherently bad.

This thesis makes a claim about each text but doesn’t say anything about them in relation to each other.

Text A, a poem, does a better job of communicating the emotional struggles of living with HIV than Text B, a statistical report, because a poem allows readers to identify emotionally with other people while statistics are more abstract and cold.

This third thesis statement does make an argument that connects both texts, but again fails to use one text to tell us something we don’t already know about the other text.

In my experience, a successful lens essay implies a certain kind of thought-process that has at least four parts:

(1) I read Text A

(2) I read Text B (my lens)

(3) I re-read Text A and noticed something I didn’t notice before

(4) That something turns out to carry consequences for my overall reading of Text A (thesis/argument)

(And if you really want to wow your reader, you’d add a final part:)

(5) Applying Text B (my lens) in this way also reveals something significant about Text B

When I say significance or consequences, I don’t mean that it has to alter the meaning of a text radically; it can be something small but important. For example, you might find that one element is a lot more important (or a lot less important) to the overall text than you had previously thought.

As an example, here is an excerpt from the introduction to my last lens essay:

The concept of the imagination is ambiguous throughout Venus in Furs : at times, the imagination appears as passive as a battleground that external forces fight to occupy and control; at other times, the imagination appears to drive the action as if it is another character. Any theory of sexuality that seeks to explain Venus in Furs thus must be able to explain the ambiguity over the imagination. Foucault’s theory of the inescapable knowledge-power of sexuality comes close to being able to explain Sacher-Masoch’s ambiguous concept of the imagination, but applying Foucault in this way highlights Foucault’s own difficulty situating the imagination within his theory.

You can see my lens essay thought-process in just these three sentences:

(1) I read Venus in Furs (Text A) and noticed that the imagination is ambiguous

(2) I read Foucault (Text B, my lens) (3) to better understand the imagination in Venus in Furs

(4) Foucault helped explain why an ambiguous imagination is an appropriate way to look at sexuality

but (5) applying Foucault to the imagination tells me that Foucault’s own theory is challenged when he has to account for the imagination.

Once you have an argument for a lens essay, you will have to structure your paper in a way that allows this lens essay thought-process to come across. This means that each of your topic sentences should refer back to this thought-process. Even if you need a paragraph that discusses one of the texts primarily, your topic sentence should justify why you’re doing that. Your complicated and interesting thesis will likely require you to move back and forth between Text A and Text B (your lens).

Of course, your argument will depend on your assignment, but I’ve found this four-part approach successful in a number of courses where the assignment asked me to bring two texts in dialogue with one another.

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Tag Archives: lens essay

“the death of ivan ilych: a psychological study on death and dying” as a lens essay.

The lens essay is a commonly-assigned paper, particularly in Writing Seminars. The prompt for such a paper often asks students to “critique and refine” an argument, to use a source as a lens through which to view another source and in the process gain a better understanding of both sources. This type of essay can be hard to explain and difficult to understand, so it is one of the most common types of essays we see in the Writing Center.

Recently, I read Y.J. Dayananda’s paper “ The Death of Ivan Ilych : A Psychological Study On Death and Dying ” which uses the lens technique. In this paper, Dayananda examines Tolstoy’s famous short story The Death of Ivan Ilych through the lens of Dr. E. K. Ross’s psychological studies of dying, particularly her five-stage theory. Dayananda’s paper features strong source use, shows how structure can be informed by those sources, and serves as a model for an effective and cross-disciplinary lens essay.

Dayananda establishes the paper’s argument clearly at the end of the introduction, setting up the paper’s thesis in light of this lens technique and providing the rationale (part of the motive) behind applying Ross’s study to Tolstoy’s story:

I intend to draw upon the material presented in Dr. Ross’s On Death and Dying and try to show how Tolstoy’s Ivan Ilych in The Death of Ivan Ilych goes through the same five stages. Psychiatry offers one way to a better illumination of literature. Dr. Ross’s discoveries in her consulting room corroborate Tolstoy’s literary insights into the experience of dying. They give us the same picture of man’s terrors of the flesh, despair, loneliness, and depression at the approach of death. The understanding of one will be illuminated by the understanding of the other. The two books, On Death and Dying and The Death of Ivan Ilych , the one with its systematically accumulated certified knowledge, and disciplined and scientific descriptions, and the other with its richly textured commentary, and superbly concrete and realistic perceptions, bring death out of the darkness and remove it from the list of taboo topics. Death, our affluent societies newest forbidden topic, is not regarded as “obscene” but discussed openly and without the euphemisms of the funeral industry.

Dayananda then organizes the paper in order of the five stages of Dr. Ross’s theory: denial, loneliness, anger, bargaining, depression, and acceptance. This gives the paper a clear structure and places the texts into conversation with each other on an organizational level. As the reader moves through each stage, Dayananda combines quotations from Dr. Ross’s study and evidence from The Death of Ivan Ilych to show how Ivan Ilych experiences that stage.

Dayananda’s interdisciplinary close-reading of Tolstoy’s text through the lens of Dr. Ross’s study allows us to better understand what Ivan is experiencing as we learn the psychology behind it. As Dayananda writes, “psychoanalysis offers a rich, dynamic approach to some aspects of literature.” The only way Dayananda’s paper could have been strengthened is if the essay also argued explicitly how reading the literature critiques or refines the psychological text, as the best lens essays run both ways. However, overall, Dayananda sets up and executes an original and effective lens reading of The Death of Ivan Ilych.

–Paige Allen ’21

Dayananda, Y. J. “ The Death of Ivan Ilych: A Psychological Study On Death and Dying .” Tolstoy’s Short Fiction: Revised Translations, Backgrounds and Sources, Criticism , by Lev Nikolaevich Tolstoi and Michael R. Katz, Norton, 1991, pp. 423–434.

The Shade of the Body: Notions of Materiality in Rauschenberg’s Dante Series

In a Tortoiseshell: In the paper excerpted below, the author builds a graduated version of the lens thesis: She analyzes Robert Rauschenberg’s 34 Drawings for Dante’s Inferno in the context of Dante’s Inferno itself, using close reading as well as scholarly texts to make a subtle argument about both texts.

Continue reading →

The “Immense Edifice”: Memory, Rapture, and the Intertemporal Self in Swann’s Way

In a Tortoiseshell: This excerpt from Andrew Mullen’s essay “The ‘Immense Edifice”:  Memory, Rapture, and the Intertemporal Self in Swann’s Way ” concerns the analysis of Marcel Proust’s “ Swann’s Way ” through the lens of Claudia Brodsky’s essay on narration and memory. Andrew’s essay is a prime example of the lens essay –an essay that is structured around the analysis of a source text using a theoretical framework provided by another. Continue reading →

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How to Write a Thesis Statement for a Critical Lens Essay

How to Do an In-Depth Analysis Essay

"Everyone's a critic," or so the saying goes. When it comes to writing a critical lens essay, it's true that you get the chance to view wisdom and literature through a critical lens. The thesis statement is the center point of any essay, so crafting a strong example takes work. Take your inspiration from the format of the critical lens essay introduction, making sure to revise the wording to make your statement as convincing as possible.

Critical Lens Essay

A critical lens essay is a type of literary analysis paper. In this case, you start with a quotation, which you view through a "critical lens." This viewing involves restating the quotation in your own words, thus interpreting it. You take a position in this paper by stating whether you agree or disagree with the quotation as interpreted. The majority of the essay consists of elements from literature, usually two works, that support your position on the legitimacy of the quotation.

Elements of the Thesis Statement

The thesis statement, the final sentence of the introduction, consists of one sentence only. This statement includes the title, author and genre of the works of literature you are using to support your position. The thesis statement also includes literary elements, like characterization or theme, from the pieces that help support your position. Altogether the thesis statement connects the works to the quote. For example, you write, "In the drama, 'Othello,' by William Shakespeare, the development of the characters and the treatment of the themes shows how literature mirrors life."

Writing Process

The process for writing the introduction informs how you write your thesis statement. Start by recopying the given quotation and interpreting it. Decide whether you agree or disagree with the quotation as interpreted. Next, think about why you agree or not, brainstorming literary works that support your position. Consider which elements of the piece support your opinion. For instance, if the quotation suggests problems, consider the conflict and resolution of literary works. The interpretation and your agreement or disagreement serve as the foundation of your thesis statement.

Strengthening the Thesis Statement

Because thesis statements contain a lot of information, you should revise it to avoid awkward wording. Since your agreement sentence comes directly before, you can start the thesis statement with, "The truth of this statement is shown by" then list the literary works and elements. The phrase "The truth of" serves as a transition between the agreement sentence and your thesis, but it leads you to write in the passive. An active statement is more decisive: "The conflict in the novel 'The Old Man in the Sea' shows the truth of the quotation." The certainty of this statement sets the stage for supporting your position.

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• Greenwich Central School District High School English: Writing a Critical Lens Essay – Steps to Follow

Nadia Archuleta has a B.A. in English writing. She spent five years working abroad and has traveled extensively. She has worked as an English as a Foreign/Second Language teacher for 12 years.

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How to Write a Critical Lens Essay

Table of Contents

Introduction

More often, students have faced the challenge of effectively coming up with a critical lens essay. It is very common for high school and even college students to be called upon to come up with an essay. They all seem to make the same mistake of writing an ordinary essay. It is crucial to differentiate between a common essay and critical lens essay. The details of this topic have formed the bulk of this paper.

What is a critical essay ?

This is a piece that is done in many schools in America where a quote is provided and a student is expected to make a personal stand regarding that particularquote. This kind of writing is known as critical lens essay writing. A student is expected to either agree or disagree with that quote and either way provide reasons for the stand taken. In writing the critical lens essay, an in-depth exploration of the quote must be done within the context of the book from which the quote is derived. The primary goal is a critical lens essay is to assess a student’s skills in critical thinking. For a student to effectively come up with a good essay, they should read, understand, evaluate and analyze all the issues in the context.

In writing a custom critical lens essay, the first step is to come up with a critical lens essay outline. This is an overview of the entire essay in a nutshell. It is in the outline of the essay that the critical lens essay format is captured. When coming up with this nature of an essay, astudent must be keen enough to respond to main issues addressed in the quote. When there is more than one issue raised, the student must address each issue specifically. This ensures that there is a holistic approach to all issues.

Critical Lens Essay Structure

There are three aspects that a student seeks to achieve when writing a critical lens essay. There are explanation, analysis and interpretation. A student must carefully think and plan his/her thoughts so that there is cohesion and flow of ideas. Among the preliminary steps that must be taken before embarking on the actual writing include identification of elements used in literature. They include symbolism, language, themes and tone among others.

In coming up with a critical lens essay you must respond to the point of view conveyed by the quote and after that, you should try to explain the same in your own words. Any critical lens essay includes an introduction, body of the essay and a concluding paragraph which captures the summary of all issues discussed in the essay.

Critical Lens essay format

The first step  in critical essay writing is the introduction of the essay on which the quote is specifically mentioned. In citing the quote, the author is mentioned and the source. For example, the first sentence may read, ‘ According to Desmond Tutu, people become people through other people.’ The actual quote must therefore appear at the beginning of the sentence. The next step is rewriting or rephrasing the quote. In rephrasing, the student must understand and interpret the quote so that the meaning is captured without necessarily using the same words as the author. In writing this essay, students should refrain from using the first person. Instead, use of third person is always preferred

The next step is the body which must have the source and name of the author. In the beginning of the body, it is necessary to restate the interpretation which had been done at the introduction. Use of terms of literature are welcome at this point. The third step is to expound further on the literary terms with the aim of putting the stand taken into context. A summary of the plot form which the quote is lifted may be done at this point. The intention is to ensure that the discussion remains within the desired context.

The final part is conclusion which involves asummary of all points discussed including restating the position taken. A mention of evidence justifying the position is given at this point. The guidelines herein will be integral in offering critical lens essay help.

Critical Lens Essay Topics

• It is not about what is said by the author, rather it is what they whisper.
• The conflict of good and bad is the basis of the struggle in literature
• What makes people good is having gone through failure and overcome.
• Literature is in its entirety is about protest
• Eyes see best in the dark.
• People become people through other people.
• Ourbravery is gauged on how obedient we are to the inner person.
•  In literature, it is emotion not reason that shapes characters.
• An interesting story in one city is ridiculous and laughable in another city
•  Literature serves to awaken the frozen sea inside us.

Historical Lenses (Social, Political, Economic), Explained!

Historical lenses are ways of understanding and interpreting the past. They are frameworks that help us understand how different social, political, and economic factors have shaped and influenced history.

There are three main types of historical lenses: social, political, and economic. Here is a brief overview of each:

• Social lens : A social lens looks at how social factors, such as class, race, gender, and ethnicity, have shaped and influenced events and developments in history. This lens helps us understand how different groups of people have interacted with each other and society as a whole.
• Political lens : A political lens looks at how political factors, such as governments, laws, and power structures, have shaped and influenced events and developments in history. This lens helps us to understand how different political systems and ideologies have impacted the course of history.
• Economic lens : An economic lens looks at how economic factors, such as trade, industry, and wealth, have shaped and influenced events and developments in history. This lens helps us to understand how different economic systems and policies have impacted the course of history.

By using these different historical lenses, we can gain a more comprehensive and nuanced understanding of the past and how social, political, and economic factors have shaped the world.

Historical Lenses Definition

A historical lens is a way of understanding and interpreting the past. It is a framework that helps us understand how different factors shape and influence history.

There are several historical lenses, including social, political, and economic lenses. Each of these lenses focuses on specific factors that have shaped history.

For example, a historian might use a social lens to examine how class, race, and gender have shaped history. They might look at how different social groups have interacted with each other and society and how these interactions have impacted history.

Similarly, a historian might use a political lens to examine how governments, laws, and power structures have shaped history.

They might look at how different political systems and ideologies change history and how political actors have influenced the course of events.

Finally, a historian might use an economic lens to examine how trade, industry, and wealth have shaped history. They might look at how different economic systems and policies change the world and how economic factors have influenced the actions and decisions of actors.

Examples of Historical Lenses

1. the social lens.

A social lens looks at how social factors, such as class, race, gender, and ethnicity, have shaped and influenced events. This lens helps us understand how different groups of people have interacted with each other.

Here are some examples of how events and developments can be examined through a social lens:

• Akhenaten’s Rule : A social lens might consider how the pharaoh’s religious reforms, which involved the promotion of the sun god Aten and the suppression of other gods (Ridley, 2019, pp. 13-15), impacted different social groups. It could examine how these reforms shaped social relations and cultural practices and how they impacted the lives of ordinary people.
• The Civil Rights movement in the United States : A social lens might focus on how class, race, and gender influenced the Civil Rights movement and the struggles for civil rights and equality. It could examine how different social groups, such as African Americans, women, and LGBTQ+ individuals, were impacted by discrimination and segregation and how they organized and fought for their rights.
• The French Revolution : A social lens might focus on how class, race, and gender influenced the French Revolution and the overthrow of the monarchy (Desan et al., 2013). It could examine how different social groups, such as the aristocracy, the middle class, and the working class, were impacted by the Revolution and how they participated in and shaped its outcome.
• The Industrial Revolution : A social lens might focus on how class and wealth influenced the Industrial Revolution and the rise of industrial societies (Foster, 1982). It could examine how different social classes , such as the working class, the middle class, and the upper class, were impacted by the transformation from an agricultural to an industrial economy and how this changed social relations and mobility.

A social lens can help us to understand how different social factors, such as class, race, and gender, have influenced events and developments in history.

2. The Political Lens

Historians can analyze the past through a political lens by examining how different political factors, such as governments, laws, and power structures, have shaped and influenced events and developments.

To do this, historians might look at a variety of sources, such as political documents, laws, and speeches, to understand how different political actors have interacted and influenced each other over time.

Here are some examples of how events and developments in history might be explained through a political lens:

• The American Revolution : A political lens might focus on how different governments and power structures influenced the American Revolution and the formation of the United States. It could examine how political actors, such as the colonial leaders and the British government, shaped the course of events and how their actions and decisions impacted the outcome (Allison, 2015).
• The Arab Spring : A political lens might focus on how different governments and power structures influenced the wave of protests and uprisings that swept across the Middle East and North Africa (Sadiki, 2014). It could examine how different political actors, such as governments, opposition groups, and international powers, shaped the course of events and how their actions and decisions impacted history.
• The fall of the Berlin Wall : A political lens might focus on how different governments and power structures influenced the fall of the Berlin Wall and the end of the Cold War. It could examine how political actors, such as the leaders of the Soviet Union and the United States, shaped the course of events and how their actions and decisions impacted the outcome.
• The Glorious Revolution : A political lens might focus on how different power structures and political actors influenced the Glorious Revolution (Schwoerer, 1992). It could examine how the struggle for power between King James II and his opponents, such as the Parliament and the aristocracy, shaped the course of events.

A political lens can help us understand how different political factors, such as governments, laws, and power structures, have influenced history.

3. Economic Lens

An economic lens can help us understand how different economic systems and policies have impacted history and how they have influenced the actions and decisions of people.

It can also help us understand how economic factors affect the distribution of power and resources within societies and how they shape social relations.

Here are some examples of how historical developments might be explained through an economic lens:

• The globalization of the world economy : An economic lens might focus on how different economic factors, such as trade, industry, and wealth, influenced the globalization of the world economy and the integration of countries and regions into a single global market. It could examine how economic policies and systems, such as free trade and protectionism, shaped the course of events and how they impacted the lives of ordinary people.
• The Great Depression : An economic lens might focus on how different economic factors influenced the economic downturn of the 1930s. It could examine how economic policies and systems, such as laissez-faire capitalism and the gold standard, shaped the course of events (Garraty, 1986).
• The Renaissance : An economic lens could examine how the growth of trade networks and the development of new technologies, such as the printing press, impacted the economy and shaped the course of events; how the growth of cities and the rise of wealthy merchant classes contributed to the development of the Renaissance; and how the exploitation of resources, such as gold and spices, impacted the economy of the period.
• The rise of China as an economic superpower : An economic lens might focus on how different economic factors, such as trade, industry, and wealth, influenced the rise of China as an economic superpower. It could examine how economic policies and systems, such as state socialism and market capitalism, shaped the course of events and how they impacted the lives of ordinary people.

By using an economic lens, we can gain a better understanding of how different economic factors have shaped and influenced the world we live in today.

Historical lenses are frameworks that help historians to understand and interpret the past. There are three main types of historical lenses: social, political, and economic. Either of these can be useful in a myriad of contexts. By using these different historical lenses, we can gain a more comprehensive understanding of the complexities of the past.

Allison, R. J. (2015). The American Revolution: A Very Short Introduction . Oxford University Press.

Desan, S., Hunt, L., & Nelson, W. M. (2013). The French Revolution in Global Perspective . Cornell University Press.

Foster, J. (1982). Class Struggle and the Industrial Revolution [sound Recording]: Early Industrial Capitalism in Three English Towns . Peterborough : Ontario Audio Library Service.

Garraty, J. A. (1986). The Great Depression: An Inquiry Into the Causes, Course, and Consequences of the Worldwide Depression of the Nineteen-thirties, as Seen by Contemporaries and in the Light of History . Harcourt Brace Jovanovich.

Ridley, R. T. (2019). Akhenaten: A Historian’s View . American University in Cairo Press.

Sadiki, L. (2014). Routledge Handbook of the Arab Spring: Rethinking Democratization . Routledge. Schwoerer, L. G. (1992). The Revolution of 1688-89: Changing Perspectives . Cambridge University Press.

Tio Gabunia (B.Arch, M.Arch)

Tio Gabunia is an academic writer and architect based in Tbilisi. He has studied architecture, design, and urban planning at the Georgian Technical University and the University of Lisbon. He has worked in these fields in Georgia, Portugal, and France. Most of Tio’s writings concern philosophy. Other writings include architecture, sociology, urban planning, and economics.

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Chris Drew (PhD)

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A critical lens essay is an analysis of a quote or statement in relation to a piece of literature or topic. It should evaluate its validity and provide evidence to support your interpretation.

By reading this article, the student will find the answers on most of the questions related to the critical lens essay, but if it seems insufficient, make an order at StudyCrumb delivering academic writing services to get the fastest and most quality help online!

What Is a Critical Lens Essay?

The initial question, which comes to mind of any student who faces such type of academic assignment sounds like, “ What is a critical lens essay? ” As literary elements are an integral part of any critical lens essay, it is important to define it as well to understand how to write a critical lens essay. Literary elements refer to the means a writer applies to describe/evolve characters. There are several things left to identify before moving to the sections that contain the detailed description of the critical lens essay structure.

• Conflict A struggle between the rivals (Person versus Person or another object/phenomenon).
• Figurative language Special literary devices aimed to compare & contrast or relate distinct stuff (metaphor, allegory, hyperbole, etc.)
• Flashback An episode created to explain an event happening in the present by recalling the past event(s).
• Foreshadowing A writer’s usage of tips to give the cue on the events that might take place later in the story.
• Imagery A special language an author implements to express a visual image/provide a sensory experience by playing with 5 senses of human being.
• Irony A conflict between the expected things and what takes place in reality (often used to describe funny moments or show someone’s stupidity).
• Plot The range of events occurring in the particular work of literature.
• Setting The specific period of time & location described in the plot.

The final 3 elements include symbolism (anything that reflects something), theme (the main message of the story), and tone (the way an author perceives his own story). It is time to go under the hood of this academic assignment by taking a look at how to write a critical lens essay step-by-step.

How to Write a Critical Lens Essay: Basic Principles

If you do not know the structure of the given type of academic assignment, you don’t know how to write a critical lens essay. Some of the United States high schools have it as the regular homework task. In most cases, those schools that are affiliated with the New York State Regents Exam offer a critical lens essay to their students. The whole essay is based on a single quote from a specific literary work. A student has no right to copy-paste the quotation, so it is recommended to rewrite this sentence or few. Try to memorize more rule associated with a critical lens essay writing:

• Never use a 1st person (“I,” “we”) – switch to the third-person voice while writing.
• Specify the quote’s author, title of literary work, and year of publishing.
• No hook sentence is needed – a literary quote would be enough.
• Provide personal interpretation of the chosen critical lens essay quote – it will be the thesis statement!

How to Write a Critical Lens Essay Step by Step

The goal of this type of academic assignment is to research the chosen literary quote. A student must talk about the original sources from which the quote was retrieved. Come up with personal critical analysis and explanation. This way, high school & college teachers assess the student's ability to read & analyze things plus writing, research, formatting, and analytical skills. The final grade is based on all of these factors.

Critical Lens Essay Outline

The main purpose is to get ready with an outline. A student should follow this roadmap not to get lost during the process of writing:

• Introduction
• Literary work #1
• Literary element #1
• Literary element #2

A student can make it the five paragraph essay by adding one more paragraph to the body if he wants. A couple of body paragraphs is okay.

Introduction: Impress the Reader

An introduction of such essay has an unusual structure because it has to begin with a literary quote while in case of other academic assignments a student may choose which type of hook to include and whether he needs it. Example:

“We can never give up longing and wishing while we are thoroughly alive. There are certain things we feel to be beautiful and good, and we must hunger after them.” George Eliot The Mill on the Floss, 1860

A student can start by writing, “George Eliot once said…” (paraphrase). The next thing a student should do is to interpret the chosen quote. The offered quotation means people should never stop trying to achieve something greater even if they think they have everything in this life. It calls for further self-development. Then, the author of the essay should take some time to decide whether he/she supports the offered saying or no, and provide a transition to the following part. It might be enough to write, “I agree with the given statement as humans are meant to develop all the time.” Should this type of essay contain a thesis statement? Of course! Keep in mind that both (title of the analyzed piece 1) by (writer’s name) and ( the title of the analyzed piece 2) by (writer’s name) stick to the opinion that a human being must develop and learn something new throughout the life.

Body Paragraphs

Start with the topic sentence number 1. It should look like, “The story written by (author’s name) titled (name of a literary work) states that (example: it is better to erase some moments from person’s memory.” Transition statement is what comes after. The author may implement another literary element. Example: “One of the methods the author involves to prove his/her particular opinion is by (specific literary element discussed above). Everything left to do is:

• Identify literary element
• Relate the lens & literary element
• Provide a conclusion!

Here we go with a critical essay example of the body paragraph!

“The discussed piece of literature shows that to get something people truly want, they should give up everything they have by the specific moment of life. One of the methods to prove it is via the theme. It is a primary message the author wants to deliver in his work.”

Critical Lens Essay Conclusion

Once the student explained the chosen literary quote in the shape of a couple of sentences in each body paragraph, he should move to the conclusion. Make a summary of the body paragraphs to emphasize you stand. An interpretation must be clear & concise. Start writing an essay’s conclusion by rewriting the selected quote; begin summarizing the examples you used to cite throughout the essay. Repeat the full name of the writer and other contributors. Point out some evidence collected from the primary sources to motivate the target readers to start thinking about your topic by going on with the independent research.

Professional Notice: “Talk about the specific conditions that can change the author’s point of view. The mission is to come up with the general enclosing sentence, which will leave a strong, positive impact on the reader along with the intrigue and desire to learn more on the discussed topic. That is what teachers call a stellar outro!”

Critical Lens Essay Format: How Does It Look?

Is critical lens essay format somehow different from the typical essay’s format? The structure is different from, let’s say, argumentative/persuasive paper, but the format is everywhere the same if we speak about the established writings styles. They include MLA, APA, Chicago style paper , and rarer formats. The formatting elements include:

• Margins, fonts, page numbers, etc
• Direct/Indirect text citations
• References.

Excellent Critical Lens Essay Example

We are smoothly moving to the closing section of the article. It contains a critical lens example essay & topic ideas. Anne Frank is a great author – let her work be our example!

Are you a bit confused? Why won’t you leave homework assignments like critical essays to the team of professional academic writers who serve student's needs 24/7!

Daniel Howard is an Essay Writing guru. He helps students create essays that will strike a chord with the readers.

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8 contextual lenses for studying literature

Student: [ politely ] Sir, what do you mean by ‘context’? What is ‘context’? I mean, you keep telling us we have to include it in our literature essays – but what actually is it? Me: Well, I’m so glad you asked…

How to use this list

This list is designed to help you build up better fluency and competence with contextual lenses for literature. Or, put simply…

… to help you brainstorm what ‘context’ might mean for the text you are studying – by giving you a series of prompts.

If instead you would prefer to find out how to use contextual knowledge , you might want to check out my guide to that right here .

But first you need a good grasp of what ‘context’ actually is. And I think I can help with that:

Below is a list of my examples of contextual lenses for literature. The list is made up of prompts, and each prompt identifies a particular contextual angle from which, or ‘lens’ through which we can look at a text.

Lens… angle… whatever… they’re both metaphors. The point is this:

When you learn to look at literature in different ways, you get a better overall perspective.

In this post I’m not really dealing with ‘critical lenses’ (e.g. formalist, feminist, Marxist etc) – although really those too are a kind of context.

Because the context is everything that is outside but with the text: that’s what ‘con’ means – ‘with’.

• Grab a sheet of paper
• Scroll down the list
• As you go, jot down the questions or topics which feel relevant to your text.
• You can then use this as a prompt list for a little bit of research.

Look – it may seem obvious, but…

… you can write better literature essays in the long-run if you recognise the different possible meanings of the word ‘context’.

Question: How do I include context in my essay? Answer: By first knowing what context is .

And yes. I know:

For lots of you…

… it’s a requirement (or an expectation) that you do so.

And I’ll be honest:

I often read essays by students where their appreciation of what context is is too narrow or too fuzzy .

That can mean:

• It hinders you from doing effective research .
• It stops you from picking up some quick wins where you actually know more context than you realise.
• You try and bluff your way through it with bland generalisations about how things were in ye olden dayes .

Here’s my list of different types of context in literature – to give you some ideas about how you can use context in an essay . Naturally, you don’t have to use them all – but:

I find that students tend to have a bias towards a couple of them…

… and I have left those ones to the end!

Let’s get to it.

1. Cultural context

Cultural context.

This is a huge topic – and it absorbs some of the topics below.

In other words, in the particular time and place you are thinking of…

What sorts of communities existed? How were they composed? How do/did people think, express themselves? How did they spend their time? How did they perceive the world? What kinds of stories had they heard? How did they spend their free time (if they had any)? What were their ideas about right and wrong?

2. Performative context

Performative context.

This one is especially important if you are studying a play – because the text was written for performance on a stage by actors, and that is how the text was received by its audience. By imagining how a particular scene might be staged and performed, and how it might be received, you are putting the text in context.

Mind you, this doesn’t exclude prose or poetry. Texts that are meant to be read privately still get performed in the theatre of your mind – and it is often relevant that a text was written so that it would be read in solitariness and privacy.

It’s often illuminating to use your imagination and think about how your text might typically be experienced. So give it a try.

Remember – by imagining and discussing how part of a text might be performed (or perhaps was performed) you are putting it in context.

3. Literary context

Literary context.

Students often neglect this one. This means other texts that were written before your text – or even since you text was written – and which form part of its context . That might mean:

• Other texts written by the same author
• Texts written by the author’s contemporaries or near-contemporaries
• Canonical texts that loom large in the literary landscape – e.g. the Bible or the works of Shakespeare
• Texts that share something else in common with your text – perhaps in terms of genre, form, mode, plot, or theme.
• Texts that an author used directly as a source

4. Socio-economic context

Socio-economic context.

In a nutshell this usually means ‘what daily life is/was like’ for individuals and communities in a particular time and place. That includes:

• Poverty and prosperity
• The composition and distribution of communities
• The composition and structure of society
• The kind of work that different people did
• Settlement and migration
• The effects of advances in science and technology.

5. Scientific context

Scientific context.

Advances in mathematics, medicine, physics, and so on form part of the context of all literature. Often this falls under cultural context, though, because for the literary critic what matters is not so much the science itself as how science is/was generally perceived and understood – not just by scientists but by other people. For example, Charles Darwin’s The Origin of Species (1859) is a hugely important text in the context of practically everything that has been written since (and certainly a good deal of Victorian literature) – but what makes it important is that it caused a sensation and ultimately changed the way that ordinary people perceive the world and the universe.

6. Political context

Political context.

In the context of what political entity was your text written? A realm? A nation? An empire? A state? And how is/was it governed and administered? How much censorship was there? Were there hot topics of political debate? Was there public discourse about rights, laws, taxes, crime and punishment, or conquest and empire? Were there politcal rivalries or factions? Was there corruption? These are all the questions pertaining to political context which can shed light on a text.

7. Religious and Humanist context

Religious and humanist context.

By the light of religious contexts, texts can become:

provocative and subversive,

conservative and affirmative

somewhere between the two!

‘Religious’ context arguably falls under ‘cultural’ context – though there are often political implications too.

Clearly, wherever religious faith – or at least religious observance and practice and affiliation – is widespread, it helps to determine and shape people’s point of view, their loyalties, and their understanding of the world – including:

• moral codes
• ideas about order and hierarchy
• a sense of right and wrong.

8. Biographical context

Biographical context.

The story of the author’s life, his/her relationships, affiliations, beliefs, successes and failures – or the circumstances surrounding the writing of a particular text – can sometimes shed light on that text. But:

Be careful.

Biographical context has a tendency to elicit bad habits from essay-writing students, including:

• Leaping to conclusions
• Simply dumping biographical information because it is easy to find and to repeat.

Never underestimate an author’s ability to hold the reality of his/her life at arm’s length whilst imagining completely different circumstances, in the interests of telling a good story or writing a beautiful poem.

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Secrets to Literature Lenses for Textual Analysis

June 30, 2022 //  by  Lindsay Ann //   1 Comment

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We all want our English students to have deeper, more meaningful discussions about their reading , and literature lenses provide a framework for textual analysis. Teaching students to think about texts through the literary criticism lenses helps students to do this independent of our constant scaffolding and guidance. 

That’s what we call a win win in the teaching biz. 

Today I’m going to dive into how bringing literary criticism and the idea of reading through the critical lenses associated with literary criticism can help deepen the experiences of your student readers.

 Let’s jump in! 

What is Literary Criticism?

Okay, so what is literary criticism anyway?

You may remember this term from those ginormous Norton Anthologies we had to read in college (or “back in the day” as my students so kindly refer to it…🙃). Simply put, literary criticism is the reader’s text-based interpretation of an author’s deeper meaning in a work of fiction. Literary criticism is the way we analyze, evaluate, judge, and talk about literature.

At its most sophisticated , literary criticism is the way you discussed The Grapes of Wrath in your American Lit. survey course, and at its most practical , literary criticism is the way you share your frustrations about the gratuitous descriptions of nature in Where the Crawdads Sing over a cold glass of Pinot with your book club gals. 

Literary criticism is what we hope students do as they read their independent reading books, book club books, and study whole class texts. We want learners to pick up on the nuanced way the author creates the theme or the way that the setting impacts the behavior of the characters or the use of dialogue to create the mood and to do all of this by citing examples from the text to support how their thinking was shaped, all of this discussion is literary criticism .

Types of Literature Lenses

Literary lenses allow readers to focus on particular elements of a text when reading. When readers put on these figurative critical lenses, they can hone in on patterns that emerge.

It’s sort of like when you’re watching an episode of House Hunters and are absolutely ready to throw the remote at the wall because no matter what a house looks like, the prospective buyers can’t get past the fact that the walls are painted gray. They can only see through the lens of not wanting to have to paint the whole house (and hey, who really can blame them?) because that’s what they’re choosing to focus on . 

Similarly, readers make the choice to read through certain lenses in order to see things from a certain perspective .

This allows us to ignore other moves happening in a work of literature and really zero-in on specified elements . These elements are dictated by the type of literary lens a reader is choosing to read through. 

There are many different literary lenses, but they can be categorized into four main types:

• Traditional literary criticism 
• Sociological criticism 
• Psychological criticism 
• Criticism of specific ideas/ways of thinking

It often helps to read through multiple lenses and we usually do this pretty naturally.

For example, it can be difficult to extrapolate the sociological and psychological lenses. Oftentimes a character may behave in a way because of how their society has influenced their psychological thought patterns, and so looking at a text from multiple perspectives allows the reader a richer reading experience .

Sometimes we read through certain lenses based on our prior experiences (e.g., text to text, text to self, text to world connections) which is known as “reader response theory,” but readers can also be trained to view a text through the different types of literary lenses. 

Literary Lenses List

Use this handy-dandy literary lenses list (say that four times fast) to help you plan mini-lessons on how to intentionally read through the literature lenses. 

• Gender/queer theory 
• Moral criticism 
• Formalism/new criticism 
• Historical/biographical/cultural
• Eco-criticism 
• Structural/semiotic
• Affliction/disability
• Aestheticism 
• Reader response/personal mirrors

Critical Lenses for Poetry Analysis

Poetry makes for quick and easy but meaningful scaffolding when teaching students to read through literature lenses. Take a look at this excerpt from “Oil” by Fatima Asghar :

I’m young & no one around knows where my parents are from.  A map on our wall & I circle all the places I want to be. My auntie, not-blood but could be, runs the oil through my scalp.  Her fingers play the strands of my hair. The house smells like badam.  My uncle, not-blood but could be, soaks them in a bowl of water.  My auntie says my people might be Afghani. I draw a ship on the map. I write Afghani under its hull. I count all the oceans, blood & not-blood, all the people I could be, the whole map, my mirror.

This short excerpt can be read through a multitude of literature lenses, but perhaps the three that students would most easily identify are Formalism, Feminism, Historical/Biographical/Cultural.

Encourage students to start with the lenses they feel most comfortable with or feel the most obvious when they read. 

When reading this excerpt through the Feminist lens, encourage students to answer these questions as they read:

• How are female roles portrayed? 
• How do women and men behave? Is this in accordance with socially accepted gender norms or does it seem to contradict those norms?
• Is the narrator male or female? What helps you to determine this? 

When reading this excerpt through the Historical/Biographical/Cultural lens, encourage students to answer these questions as they read: 

• How do the events in the text reflect the time period in which this text was written?
• Can you identify any important “shifts” or cultural changes?
• What words standout as representations of a particular time in history, significant to the author’s life experiences, or culturally significant?

When reading this excerpt through the Formalist lens, encourage students to answer these questions as they read:

• How does the structure of the text contribute to the meaning?
• How does the author use imagery to develop the reader’s understanding?
• What connections between details can you make? Why do you suppose the author chose to include those details?

Getting students to feel confident applying the literature lenses as they read will require a great deal of modeling and the gradual release model may feel slower than ever, but hang in there!

Poetry reading and analysis allows you to model reading through one lens to start then layering on another and another until eventually you can take off the training wheels!

Challenge students to ask themselves questions associated with the literature lenses every time they read! 

AP Literature Lenses

The Advanced Placement (AP) Literature and Composition course exists to challenge students to see literature as a pursuit to better understand humanity. The College Board asserts that students should understand how literature shapes and is shaped by society.

Using AP literature lenses gives students an anchor of sorts to connect themselves to while they explore these complex ideas in rich literary works. 

Each FRQ on the AP Lit. test requires students to demonstrate a deep understanding of a passage or a complete work. This understanding moves well beyond the DOK 1 questions and demands them to assert their understanding of how an author used literary techniques and devices to shape meaning and reveal a truth, assumption, or behavior essential to the human experience.

In order to do that, students would benefit greatly from routine experience practicing reading texts using AP literature lenses . 

A fun way I’ve seen an AP teacher teach this idea is having students study the lenses independently and then in “literature lens groups,” they’re tasked with identifying and analyzing ideas through their assigned lenses as the class watches Shrek . I love how accessible the teacher made this abstract concept, even more an advanced course! 

There are so many ways to introduce literature lenses into your classroom. Children’s books are a particularly fun way to engage the gradual release of responsibility for student readers. My high schoolers always think it’s cheesy to be reading The Giving Tree until we start having in-depth discussions about the elements of feminist critical theory represented in the book and then their minds are blown. 

Another great way to practice reading using literature lenses in the classroom is to use hexagonal thinking . You know I’m a huge fan of this retrieval and connection strategy, and it can be a real challenge for students to connect together elements of an assigned or self-selected text to represent elements of one or more of the literature lenses. 

As you can tell, my mind is absolutely racing with possibilities for bringing in this concept to my classroom. Have you done anything like this in your classrooms? I’d love to hear more in the comment section below! 

Hey, if you loved this post, you’ll want to download a  FREE copy of my guide to streamlined grading .

I know how hard it is to do all the things as an English teacher, so I’m excited to share some of my best strategies for reducing the grading overwhelm. 

About Lindsay Ann

Lindsay has been teaching high school English in the burbs of Chicago for 18 years. She is passionate about helping English teachers find balance in their lives and teaching practice through practical feedback strategies and student-led learning strategies. She also geeks out about literary analysis, inquiry-based learning, and classroom technology integration. When Lindsay is not teaching, she enjoys playing with her two kids, running, and getting lost in a good book.

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What Is a Critical Lens Essay?

A critical lens essay is a form of narrative essay containing five paragraphs covering a certain opinion of a direct quote. The standard five-paragraph format includes an introduction, three supporting paragraphs, and a conclusion. Each of the paragraphs examines critically the main point presented by the writer. Paragraphs in the critical lens essay are extremely structured and must adhere to certain guidelines in order to be written correctly.

In the first sentence of the introduction paragraph, the writer of the essay takes a direct quote from one of the pieces of literature and copies it. Then, the writer reinterprets that quote using original words and thoughts which are directly related. In the third sentence of the introduction, the writer states either agreement or disagreement with the opinion and gives reasons for support. The writer states which two literary works will be examined throughout the remainder of the essay.

The second and third paragraphs follow a different format as the introduction, but are written in the same way. The first sentence includes a literary element taken from one of the books, such as theme, characterization or the setting, and proves the point. Next, the writer shows how that point was proven and follows up with one more supporting sentence. The last sentence in the paragraph summarizes the thoughts presented.

In a critical lens essay, the fourth paragraph is based on the writer’s personal experiences. The paragraph should be written using the standard four- sentence structure . It either proves or disproves the point of view presented in the preceding two paragraphs.

After all ideas are presented using the outlined format, the writer concludes the essay by restating the original quote in the first sentence. The next sentence is a summary of why the quote is true or false followed by a prediction about future events in the next sentence. The individual should use another quote from one of the chosen works to further support the writer’s ideas to tie up the critical lens essay.

These types of essays are written for a variety of reasons. One reason is to sway the reader's point of view on a particular famous quote or to offer fresh insight into the meaning of the quote. In addition to that, the critical lens essay is assigned to assess the student’s skills in reading, writing and critical thinking . They are used to narrow the scope of a specific piece of literature.

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Literary analysis: applying a theoretical lens.

A common technique for analyzing literature (by which we mean poetry, fiction, and essays) is to apply a theory developed by a scholar or other expert to the source text under scrutiny. The theory may or may not have been developed in the service literary scholarship.  One may apply, say, a Marxist theory of historical materialism to a novel, or a Freudian theory of personality development to a poem. In the hands of an analyst, another’s theory (in parts or whole) acts as a conceptual lens that when brought to the material brings certain elements into focus. The theory magnifies aspects of the text according to its special interests. The term  theory may sound rarified or abstract, but in reality a theory is simply an argument that attempts to explain something. Anytime you go to analyze literature—as you attempt to explain its meanings—you are applying theory, whether you recognize its exact dimensions or not. All analysis proceeds with certain interests, desires, and commitments (and not others) in mind. One way to define the theory—implicit or explicit—that you bring to a text is to ask yourself what assumptions (for instance, about how stories are told, about how language operates aesthetically, or about the quality of characters’ actions) guide your findings. A theory is an argument that attempts to explain something.

Let’s turn again to the insights about using theories to analyze literature provided in Joanna Wolfe’s and Laura Wilder’s  Digging into Literature: Strategies for Reading, Analysis, and Writing (Boston: Bedford/St. Martin’s, 2016).

Here’s a brief example of a writer using a theoretical text as a lens for reading the primary text :

In her book,  The Second Sex , the feminist philosopher Simone de Beauvoir describes how many mothers initially feel indifferent toward and estranged from their new infants, asserting that though “the woman would like to feel that the new baby is surely hers as is her own hand,. . . she does not recognize him because. . .she has experienced her pregnancy without him: she has no past in common with this little stranger” (507). Sylvia Plath’s “Morning Song” exemplifies the indifference and estrangement that de Beauvoir describes. However, where de Beauvoir asserts that “a whole complex of economical and sentimental considerations makes the baby seem either a hindrance or a jewel” (510), Plath’s poem illustrates how a child can simultaneously be both hindrance and jewel. Ultimately, “Morning Song” shows us how new mothers can overcome the conflicting emotions de Beauvoir describes.

Daniel DiGiacomo.  From Mourning Song to “Morning Song”: The Maturation of a Maternal Bond.

Notice that in this brief passage, the writer fairly represents de Beauvoir’s theory about maternal feelings, then goes on to apply a portion of that theory to Plath’s poem, a focusing move that establishes the writer’s special interest in an aspect of Plath’s text. In this case, the application yields new insight about the non-universality of de Beauvoir’s theory, which Plath’s poem troubles.  The theory magnifies a portion of the primary text, and its application puts pressure on the soundness of the theory.

Applying a Theoretical Lens: W.E.B. Du Bois Applied to Langston Hughes

Experienced literary critics are familiar with a wide range of theoretical texts they can use to interpret a primary text. As a less experienced student, your instructors will likely suggest pairings of theoretical and primary texts.  We would like you to consider the writerly workings of the theory-primary text application by examining a student’s paper entitled “Double-consciousness in ‘Theme for English B,” an essay which uses W.E.B. Du Bois’s theory (of  double-consciousness ) to elucidate and interpret Langston Hughes’s poem (“Theme for English B”). W.E.B. Du Bois (1868-1963) was an American sociologist, civil rights activist, author, and editor. Langston Hughes (1902-1967) was an American poet, activist, editor, and guiding member of the group of artists now known as the Harlem Renaissance.

But before you can make sense of that student’s essay, we ask that you read both a synopsis of the  theoretical text   and the   primary text .

Primary Text

The instructor said,

Go home and write  a page tonight.

And let that page come out of you—

Then, it will be true.

I wonder if it’s that simple?

I am a twenty-two, colored, born in Winston-Salem.

I went to school there, then Durham, then here

to this college on the hill above Harlem,

I am the only colored student in my class.

The steps from the hill lead down into Harlem through a park, then I cross St. Nicholas,

Eighth Avenue, Seventh, and I come to the Y,

the Harlem Branch Y, where I take the elevator

up to my room, site down, and write this page:

It’s not easy to know what is true for you or me

at twenty-two, my age. But I guess I’m what

I feel and see and hear, Harlem, I hear you:

hear you, hear me—we two—you, me, talk on this page.

(I hear New York, too.) Me—who?

Well, I like to eat, sleep, drink, and be in love.

I like to work, read, learn, and understand life.

I like a pipe for a Christmas present,

or records—Bessie, bop, or Bach.

I guess being colored doesn’t make me not like

the same things other folks like who are other races.

So will my page be colored that I write?

Being me, it will not be white.

But it will be  a part of you, instructor.

You are white—

yet a part of me, as I am a part of you.

That’s American.

Sometimes perhaps you don’t want to be a part of me.

Nor do I often want to be a part of you.

But we are, that’s true!

As I learn from you,

I guess you learn from me—

although you’re older—and white—

and somewhat more free.

Theoretical Text 

W.E.B. Du Bois

Of Our Spiritual Strivings

O water, voice of my heart, crying in the sand,

All night long crying with a mournful cry,

As I lie and listen, and cannot understand

The voice of my heart in my side or the voice of the sea.

O water, crying for rest, is it I, is it I?

All night long the water is crying to me.

Unresting water, there shall never be rest

Till the last moon drop and the last tide fall,

And the fire of the end begin to burn in the west;

And the heart shall be weary and wonder and cry like the sea,

All life long crying without avail

As the water all nigh long is crying to me.

                    —Arthur Symons

Between me and the other world there is an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or I fought at Mechanicsville; or Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word.

And yet, being a problem is a strange experience—peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghkanic to the sea. In a wee wooden schoolhouse, something put it into the boys’ and girls’ heads to buy gorgeous visiting-cards—ten cents a package—and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card—refused it peremptorily, with a glance. Then it dawned upon me with a certain sadness that I was different from the others; or, like, mayhap, in heart and life and longing, but shut out from their world as by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows. That sky was bluest when I could beat my mates at examination time, or beat them at a footrace, or even beat their stringy heads. Alas, with the hears all this fine contempt began to fade; for the worlds I long for, and all their dazzling opportunities, were theirs, not mine. But they should not keep these prizes, I said; some, all, I would wrest from them. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head—some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white, or wasted itself in a bitter cry, Why did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unscalable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hopelessly, watch the streak of blue above.

After the Egyptian and Indian, the Greek and Roman, the Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world, a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his tw0-ness, an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strengths alone keeps it from being torn asunder.

The history of the American Negro is the history of this strife, this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face.

This, then, is the end of his striving: To be a coworker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a might Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Throughout history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man’s turning hither and thither in hesitant and doubtful striving has often made his very strength to loos effectiveness, to seem like absence of power, like weakness.  And yet it is not weakness—it is the contradiction of double aims. The double-aimed struggle of the black artisan—on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand to plough and nail and dig for a poverty-stricken horde—could only result in making him a poor craftsman, for he had but half a heart either cause. By the poverty and ignorance of his people, the Negro minister or doctor was tempted toward quackery and demagogy; and by the criticism of the other world, toward ideals that made him ashamed of his lowly tasks. The would-be black savant was confronted by the paradox that the knowledge his people needed was a twice-told tale to his white neighbors, while the knowledge which would teach the white world was Greek to his own flesh and blood. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people. This waste of double aims, this seeking to satisfy two unreconciled ideals, has wrought sad havoc with the courage and faith and deeds of ten thousand thousand people—has sent them often wooing false gods and invoking false means of salvation, and at times has even seemed about to make them ashamed of themselves.

Away back in the days of bondage they thought to see in one divine event the end of all doubt and disappointment; few men ever worshipped Freedom with half such unquestioning faither as did the American Negro for two centuries. To him, so far as he thought and dreamed, slavery was indeed the sum of all villainies, the cause of all sorrow, the root of all prejudice; Emancipation was the key to a promised land of sweeter beauty than ever stretched before the eyes of wearied Israelites. In song and exhortation swelled one refrain—Liberty; in his tears and curses the God he implored had Freedom in his right hand. At last it came—suddenly, fearfully, like a dream. With one wild carnival of blood and passion came the message in his own plaintive cadences:—

“Shout, O children!

Shout, you’re free!

For God has bought your liberty!”

Years have passed away since then—ten, twenty, forty; forty years of national life, forty years of renewal and development, and yet the swarthy scepter sits in its accustomed seat at the Nation’s feast. In vain do we cry to this our vastest social problem:—

“Take any shape but that, and my firm nerves

Shall never tremble!”

The Nation has not yet found peace from its since; the freedman has not yet found in freedom his promised land. Whatever of good may have come in these years of change, the shadow of a deep disappointment rests upon the Negro people—a disappointment all the more bitter because the unattained ideal was unbounded save by the simple ignorance of a lowly people.

The first decade was merely a prolongation of the vain search for freedom, the boon that seemed ever barely to elude their grasp—like a tantalizing will-o-the-wisp, maddening and misleading the headless host. The holocaust of war, the terrors of the Ku Klux Klan, the lies of carpetbaggers, the disorganization of industry, and the contradictory advice of friends and foes, left the bewildered serf with no new watchword beyond the old cry for freedom. As the time flew, however, he began to grasp a new idea. The ideal of liberty demanded for its attainment powerful means, and these the Fifteenth Amendment gave him. The ballot, which before he had looked upon as a visible sign of freedom, he now regarded as the chief means of gaining and perfecting the liberty with which war had partially endowed him. And why not? Had not votes made war and emancipated millions? Had not votes enfranchised the freedmen? Was anything impossible to a power that had done all this? A million black men started with renewed zeal to vote themselves into the kingdom. So the decade flew away, the revolution of 1876 came, and left the half-free serf weary, wondering, but still inspired. Slowly but steadily, in the following years, a new vision began gradually to replace the dream of political power—a powerful movement, the rise of another ideal to guide the unguided, another pillar of fire by night after a clouded day. It was the ideal of “book-learning”: the curiosity, born of compulsory ignorance, to know and test the power of the cabalistic letters of the white man, the longing to know. Here at last seemed to have been discovered the mountain path to Canaan; longer than the highway to Emancipation and law, steep and rugged, but straight, leading to heights high enough to overlook life.

Up the new path the advance guard toiled, slowly, heavily, doggedly; only those who have watched and guided the faltering feet, the misty minds, the dull understandings, of the dark pupils of these schools know how faithfully, how piteously, this people strove to learn. It was weary work. The cold statistician wrote down the inches of progress here and there, noted also where here and there a foot had slipped or someone fallen. To the tired climbers, the horizon was ever dark, the mists were often cold, the Canaan was always dim and far away. If, however, the vistas disclosed as yet no goal, no resting place, little but flattery and criticism, the journey at least gave leisure for reflection and self-examination; it changed the child of Emancipation to the youth with dawning self-consciousness, self-realization, self-respect. In those somber forests of his striving his own soul rose before him, and he saw himself—darkly as through a veil; and yet he saw in himself some faint revelation of his power, of his mission. He began to have a dim feeling that, to attain his place in the world, he must be himself, and not another. For the first time he sought to analyze the burden he bore upon his back, that deadweight of social degradation partially masked behind a half-named Negro problem. He felt his poverty; without a cent, without a home, without land, tools, or savings, he had entered into competition with rich, landed, skilled neighbors. To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships. He felt the weight of his ignorance,—not simply of letters, but of life, of business, of the humanities; the accumulated sloth and shirking and awkwardness of decades and centuries shackled his hands and feet. Nor was his burden all poverty and ignorance. The red stain of bastardy, which two centuries of systematic legal defilement of Negro women had stamped upon his race, meant not only the loss of ancient African chastity, but also the hereditary weight of a mass of corruption from white adulterers, threatening almost the obliteration of the Negro home.

A people thus handicapped ought not to be asked to race with the world, but rather allowed to give all its time and thought to its own social problems. But alas! while sociologists gleefully count his bastards and prostitutes, the very soul of the toiling, sweating black man is darkened by the shadow of a vast despair. Men call the shadow prejudice, and learnedly explain it as the natural defense of culture against barbarism, learning against ignorance, purity against crime, the “higher” against the lower races. To which the Negro cries Amen! and swears that to such much of this strange prejudice as is founded on just homage to civilization, culture, righteousness, and progress, he humbly bows and meekly does obeisance. But before that nameless prejudice that leaps beyond all this he stands helpless, dismayed, and well-nigh speechless; before that personal disrespect and mockery, the ridicule and systematic humiliation, the distortion of fact and wanton license of fancy, the cynical ignoring of the better and the boisterous welcoming of the worse, the all-pervading desire to inculcate disdain for everything b lack, from Toussaint to the devil—before this there rises a sickening despair that would disarm and discourage any nation save the black host to whom “discouragement” is an unwritten word.

But the facing of so vast a prejudice could not but bring the inevitable self-questioning, self-disparagement, and lowering of ideals which ever accompany repression and breed in an atmosphere of contempt and hate. Whisperings and portents came borne upon the four winds: Lo! we are diseased and dying, cried the dark hosts; we cannot write, our voting is vain; what we need of education, since we must always cook and serve? And the Nation echoed and enforced this self-criticism, saying: Be content to be servants, and nothing more; what need of higher culture for half-men? Away with the black man’s ballot, by force or fraud—and behold the suicide or a race! Nevertheless, out of the evil came something of good—the more careful adjustment of education to real life, the clearer perception of the Negroes’ social responsibilities, and the sobering realization of the meaning of progress.

So dawned the time of Sturm und Drang: storm and stress today rocks out little boat on the mad waters of the world-sea; there is within and without the sound of conflict, the burning of body and rending of soul; inspiration strives without doubt, and faith with vain questionings. The bright ideals of the past—physical freedom, political power, the training of brains and the training of hands—all these in turn have waxed and waned, until even the last grows dim and overcast. Are they all wrong—all false? No, not that, but each alone was oversimple and incomplete—the dreams of a credulous race-childhood, or the fond imaginings of the other world which does not know and does not want to know our power. To be really true, all these ideals must be melted and welded into one. The training of the schools we need today more than ever—the training of deft hands, quick eyes and ears, and above all the broader, deeper, higher culture of gifted minds and pure hearts. The power of the ballot we need in sheer self-defense—else what shall save us from a second slavery? Freedom, too, the long-sought, we still seek—the freedom of life and limb, the freedom to work and think, the freedom to love and aspire. Work, culture, liberty—all these we need, not singly but together, not successively but together, each growing and aiding each, and all striving toward that vaster ideal that swims before the Negro people, the ideal of human brotherhood, gamed through the unifying ideal of Race; the idea of fostering and developing the traits and talents of the Negro, not in opposition to or contempt for other race, but rather in large conformity to the greater ideals of the American Republic, in order that someday on American soil two world races may give each to each those characteristics both so sadly lack. We the darker ones come even now not altogether empty-handed: there are today no truer exponents of the pure human spirit of the Declaration of Independence than the American Negroes; there is not true American music but the wild sweet melodies of the Negro slave; the American fairy tales and folklore are Indian and African; and, all in all, we black men seem the sole oasis of simple faith and reverence in a dusty desert of dollars and smartness. Will American be poorer if she replace her brutal dyspeptic blundering with light-hearted but determined Negro humility? of her coarse and cruel wit with loving jovial good-humor? or her vulgar music with the soul of the Sorrow Songs?

Merely a concrete test of the underlying principles of the great republic is the Negro Problem, and the spiritual striving of the freedmen’s sons is the travail of souls whose burden is almost beyond the measure of their strength, but who bear it in the name of an historic race, in the name of this the land of their fathers’ fathers, and in the name of human opportunity.

Using a Theoretical Lens to Write Persuasively

Applying a theoretical lens to poetry, fiction, plays, or essays is a standard academic move, but theories are also frequently applied to real-world cases, hypothetical cases, and other non-fiction texts in disciplines such as Philosophy, Sociology, Education, Anthropology, History, or Political Science. Sometimes, the theoretical lens analysis is called a  reading , as in a “Kantian reading of an ethical dilemma,” or a “Marxist reading of an historical episode.” At other times, the application of a theory is known as an  approach , as in a “Platonic approach to the question of beauty.”

The basic writerly moves to using a theoretical lens include:

• name and cite the theoretical text and accurately summarize this text’s argument. Usually this short summary appears in one or two paragraphs at the beginning of the essay. You will want to be sure your summary includes the key concepts you use in your paper to analyze the primary literary text.
• use the surface/depth strategy to show how deeper meanings in the primary text can be explained by concepts from the theoretical text.  You might think about this as creating a “match argument” between the primary and theoretical text (or case under consideration). Take important points made in the theoretical argument and match them to particular events or descriptions in the primary text. For instance, you could argue Langston Hughes’s line  So will my page be colored as I write? (27) matches Du Bois’s argument that the veil prevents Whites from seeing Black’s individuality. Such a match argument can form an organizing structure for the essay as you develop whole paragraphs to support different points of connection between the theoretical and primary texts. You may be able to devote an entire paragraph to the claim that Du Bois’s concept of “the veil” can help us understand Hughes’s description of the challenges his speaker faces in asking his instructor to see him on his own terms.
• support your surface/depth claims linking the primary and theoretical texts with textual evidence from the primary text . If you claim that a particular passage exemplifies a particular theory, you need to provide evidence in the form of quotations or paraphrases to support this interpretation. This evidence will most certainly need to be provided from the primary text you are analyzing but perhaps also occasionally from the theoretical text, too, especially if you connect the primary text to a small detail in the theoretical text or if the wording of the theoreticl text helps you explain something in the primary text. Use the patterns strategy to provide multiple examples from the primary text supporting your claims that it matches elements of the theoretical text.
• reveal something complex and unexpected about the primary text. The goal of the theoretical lens strategy—like all strategies of literary analysis—should be to show that the text you are analyzing is complex and can be understood on multiple levels.
• challenge, extend, or reevaluate the theoretical text (for more sophisticated analyses).  The most sophisticated uses of the theoretical lens strategy not only help you better understand the primary text but also help you better understand—and reveal complexities in—the theoretical text. When you first start applying this strategy, it may be sufficient to argue how the theoretical text helps you understand the primary text, but as you advance, you should attempt the second part of this strategy and use the primary text to extend or challenge the theoretical argument. Such arguments may serve as starting points for you to contribute to literary (or philosophical, or sociological, or historical) theory as a theorist yourself. These arguments are often made in the concluding paragraphs of analyses using the theoretical lens strategy.

Common Words and Phrases Associated with Theoretical Lens

A Sample Student Essay

Title: Double-consciousness in “Theme for English B”

Paragraph 1

The post-slavery history of African-Americans in the United States has been one of struggle for recognition. This struggle continued through the civil rights movement in the 1970s and ’80s. W.E.B. Du Bois, one of the most influential African-American leaders of the early twentieth century, described the complicated effects racism had on African-American selfhood. In his treatise  The Souls of Black Folk , Du Bois introduces the term “double-consciousness” to describe African-Americans’s struggle for self-recognition. Double-consciousness is the sense of “always looking at one’s self through the eyes of others” (8). It means that an African-American “[e]ver feels his two-ness—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body” (8). According to Du Bois, double-consciousness means that African-Americas are always judging themselves through a veil of racism, experiencing how others judge and define them rather than how they might define and express themselves.

Paragraph 2

Langston Hughes’s poem “Theme for English B,” written nearly fifty years after Du Bois’s essay, depicts one African-American’s continued struggle with double-consciousness. However, where Du Bois sees double-consciousness as a painful condition he hopes will one day disappear, Hughes seems to have a more positive view, suggesting that mainstream Americans should also have an opportunity to experience this condition. Instead of eradicating double-consciousness, Hughes seeks to universalize it. His poem suggests that true equality will be possible when all cultures are able to experience and appreciate double-consciousness.

Paragraph 3

We see the poem’s speaker struggling with double-consciousness when he expresses difficulty articulating what is “true” for himself. Hughes writes:

It’s not easy to know what is true for you and me

I feel and see and hear. Harlem, I hear you:

(I hear New York, too.) Me—who? (16-20)

In this passage, which concludes with a question about who he is, the speaker expresses a divided self. At first, he seems to identify with Harlem, an African-American neighborhood in New York, where he is currently sitting and writing. However, this identification becomes troubled by his acknowledgment that Harlem does not completely define him. When the speaker writes “hear you, hear me—we two” (19), he suggests that “you” (referring to Harlem) and “me” (referring to himself) are intimately related by not identical. They are two voices that, while both present in his poem, still “talk” (19) to one another. The fact that these voices converse, rather than speak as one, indicates they are not completely merged.

Paragraph 4

This sense of a divided self is further reinforced by the claim “(I hear New York, too.)” (20). This aside is interesting because it establishes Harlem as both separate from and connected to the larger city. This division reflects what Du Bois calls the “two-ness [of being] an Amercan [and] a Negro” (8). By placing New York in parentheses, the speaker may be suggesting that the American part of himself represented by New York plays a weaker role in his identity than the African-American self represented by Harlem. Like Du Bois, the speaker in “Theme for English B” experiences inner conflict when he tries to reconcile the different parts of himself.

Paragraph 5

We further see evidence of the speaker’s conflict when he writes that he likes “Bessie, bop, or Bach” (24). “Bessie” refrs to the popular blues singer Bessie Smith, an African-American woman who sang a very African-American style of music. At the other end of the spectrum is “Bach,” which refers to the classical European composer J.S. Bach and represents a traditionally White form of music. In the middle is “bop,” which refers to “bebop,” a form of jazz made popular in the 1940s that inspired a particular form of dance most practiced by White teenagers at the time. In saying that he likes all of these forms of music, the speaker indicates that he is a mix of both African and European identities—like Du Bois, he feels both traditional White and traditional African-American culture calling him.

Paragraph 6

The “page” that the poem’s speak has been asked to write likewise reflects the two-ness of being African-American. An essay can be thought of as black ink on white paper, which in the context of the poem represents Black identity articulated against a White background. The speaker refers to this conflict of identities when he writes, “So will my page be colored that I write? / Being me, it will not be white” (27-28). These lines suggest that the speaker is worried that his instructor will only see him as a representative Black student. It shows how the speaker is caught in a double bind: when the teacher asks the class to write something “true” (5), he will expect this particular student (who in the first stanza tells us he is the only Black student in the class) to write in a way consistent with his obvious Black heritage. But the student is aware that his White teacher doesn’t really know what it means to be Black. Thus, if he writes in a way that fulfills his instructor’s expectations, he will write a page that seems to a White teacher to be an authentic depiction of what it means to be Black—in other words, a White representation of Blackness. This dilemma illuminates what Du Bois refers to as “always looking at one’s self thorugh the eyes of others” (8). Because the speaker in the poem is so aware of what his instructor (and possibly the other students in the class) already thinks of him, he is having difficulty articulating just who he really is.

Paragraph 7

At the end of the poem, however, instead of calling for the eradication of double-consciousness as Du Bois does when he longs for the day that African-Americans will be able to “merge his double-self into a better and truer self” (9), Hughes seems to suggest that instead his instructor needs to feel the double-identity that he feels so strongly. Thus, he writes “You are white— / yet a part of me, as I am a part of you” (31-32) and “As I learn from you, / I guess you learn from me—” (36-37). These lines indicate that the White instructor needs to accept, African-American identity as part of his own culture, just as the speaker has needed to see both parts of his identity calling him. This ability to feel and be multiple perspectives, cultures, and backgrounds at once is labeled “American” in the second stanza. Hughes seems to be suggesting that even though the”two-ness” he feels is often difficult and painful, it needs to be seen as central to American—and not just African-American—identity. When he states at the end of the poem, “I guess you learn from me” (38), he is turning the tables on the teacher, and on Whites in general, by suggesting that they have as much to learn from exploring Black culture as Blacks have to learn by studying classic White culture.

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Critical Lens Essay Example for English Regents

A critical lens essay is a type of essay aimed at providing a personal interpretation and analysis of a certain quotation or statement, proving one’s opinion with the help of literature references. Though it contains a word “critical” in its name, it is not meant to be a critical piece. As a matter of fact, a critical lens essay is focused on highlighting strong and weak points of a given quote. Thus, the word “critical” stands for the demonstration of critical thinking skills of the author by means of supporting his claim with certain arguments taken from literary works. Linking one’s opinion to reputable sources makes a convincing effect on the reader, proving your ideas to be true.

How is a critical lens essay used?

Writing such type of essay appears to be quite a challenging assignment for students. First, while studying at high school, college, or university, one has to obtain and develop such essential skills as critical and analytical thinking; ability to compare facts, theses, quotes, and ideas, make one’s own statements and prove them, draw right conclusions. Second, a profound research on the given topic should be done, as it determines the further direction of your writing. Finally, a student needs to have an excellent command of grammar, spelling, and punctuation in order to express his/her thoughts clearly and academically correctly.

Thus, critical lens essays are perfect opportunities for professors to check students’ skills and abilities. No wonder this specific type of essay is often one of the tasks on the Regents, a New York State set of exams required for graduation. For this reason, one should know how to write a critical lens essay at the high academic level, because it reflects the general level of education of a student. Hence, the student is evaluated accordingly.

What is a critical lens essay format?

Typically, a critical lens essay follows a standard essay format pattern. Therefore, it consists of five paragraphs, including introduction, body paragraphs, and conclusion, so it should not be long like a research paper . In order to develop the critical analysis, a student has to use examples from two literature pieces, each one discussed in a separate paragraph. The book titles need to be underlined and capitalized, written in accordance with the capitalization and punctuation rules. As for the language and general tone of writing, it should be objective, without revealing any of the author’s personal beliefs. All the claims need to be referred to reputable literature sources that would support the author’s thesis and present the evidence of its validation. In order for the tone to sound objective, one should avoid using personal pronouns, for example, “I”, “me”, “my”, “you”, “your”, “we”, “our”. On the contrary, it is recommended to replace them with third person pronouns or general words like “people”, “readers”, “audience”.

Tips to make a critical lens essay outline

As it was mentioned above, a critical lens essay template coincides with the fixed classic essay pattern.

Introduction

The first part of an essay is the introduction. This is the first thing that makes an impression upon the reader. So, the intro part should be captivating enough to get the reader really interested in what you have to say. The introduction starts with the quote, which is not just an ordinary sentence from the text, but a significant statement that holds considerable value. It should be universally acknowledged and meaningful; the author’s name should also be provided.

After introducing the quote, a writer has to interpret it in one sentence using his/her own words. Such an interpretation is called the thesis. It plays a role of the foundation of the entire essay, which makes it a crucial part of the paper. Therefore, a key to a high-quality critical lens essay is arranging the thesis in a wise and profound way, as it presents the criteria for the further analysis.

Having provided the thesis, the writer needs to support or refute it. Though, the decision whether to agree or disagree is based not on his personal opinion, but on two literature references related to the quote. Connecting the essay with relevant references affirms the objective approach. The titles and authors of the chosen literature works have to be underlined. The intro part ends with adding a few words about the chosen reference texts topics.

Body Paragraphs

There should be two body paragraphs introducing two literature works mentioned in the introduction. The writer needs to use the references as the means for supporting his thesis. Both topic and concluding sentences demonstrate and prove the connection between the reference examples and the thesis. There should not be any summarizing; just highlighting and analysis of the main points of both literary texts explaining their relevance to the core statement. Moreover, there is no need to retell the plot of the chosen texts. On the contrary, the writing should be laconic, but clear. To convey the arguments in the most appropriate way, some literary elements from the reference texts should be chosen, such as the following:

• Characterization (direct or indirect way to describe the character);
• Conflict (opposition of the ideas, forces, views);
• Figurative language (metaphor, simile, hyperbole, alliteration, personification);
• Flashback (describing the past event that is necessary to know at present);
• Foreshadowing (hints on the events to come);
• Setting (describing time and place of action);
• Symbolism (representing something through another thing);
• Theme (main idea, message of the text);
• Tone (author’s attitude towards the audience or subject).

The last essay part summarizes the arguments and proves the initial thesis right or wrong. The quote and the thesis should be restated here, but the thesis has to be rephrased, not taken from the intro part word by word. If the essay is written in a right manner, then the conclusion would follow in the most logical way and the readers would totally agree to it. While body paragraphs persuade the reader of the correctness of the thesis, the conclusion just states the fact: the thesis is true and it is absolutely confirmed. So, the reader is satisfied, though intrigued to investigate the topic more.

How to choose the right quote?

This is not an easy task to do. The quote determines the quality of the essay, depending on whether it’s relevant or not. Below there is a list of possible quotes that are approved to be used for critical lens essays as they are widely applied at the English Regents.

English Regents critical lens quotes list:

• “Courage is never to let your actions be influenced by your fears” (Arthur Koestler);
• “Individuality is freedom lived” (John Dos Passos);
• “Obedience is the mother of success and is wedded to safety” (Aeschylus);
• “Nobody can acquire honor by doing what is wrong” (Thomas Jefferson);
• “Do what you can, with what you have, and where you are” (Theodore Roosevelt);
• “Price is what you pay. Value is what you get” (Warren Buffet);
• “Some books leave us free and some books make us free” (Ralph Waldo Emerson);
• “The final forming of a person’s character lies in their own hands” (Anne Frank);
• “Prejudice is the child of ignorance” (William Hazlitt);
• “If there is no struggle, there is no progress” (Frederick Douglas);
• “It is impossible to go through life without trust” (Graham Green);
• “Fear is simply the consequence of every lie” (Fyodor Dostoevsky);
• “No two persons regard the world in exactly the same way” (J. W. von Goethe);
• “We pay a price for everything we get or take in this world” (L. M. Montgomery);
• “Men are at the mercy of events and cannot control them” (Herodotus);
• “Although the world is full of suffering, it is full also of the overcoming of it” (Helen Keller);
• “Divide each difficulty into as many parts as is feasible and necessary to resolve it” (Rene Descartes);
• “Don’t cry because it’s over, smile because it happened” (Dr. Seuss);
• “You only live once, but if you do it right, once is enough” (Mae West);
• “In three words I can sum up everything I’ve learned about life: it goes on” (Robert Frost);
• “Insanity is doing the same thing, over and over again, but expecting different results” (Albert Einstein);
• “Life is what happens to you while you’re busy making other plans” (John Lennon);
• “It is better to be hated for what you are than to be loved for what you are not” (André Gide);
• “Life is like riding a bicycle. To keep your balance, you must keep moving” (Albert Einstein);
• “The real hero is always a hero by mistake” (Umberto Eco);
• “It is the human lot to try and fail” (David Mamet);
• “You must take life the way it comes at you and make the best of it” (Yann Martel);
• “The human heart has ever dreamed of a fairer world than the one it knows” (Carleton Noyes);
• “To gain that which is worth having, it may be necessary to lose everything else” (Bernadette Devlin);
• “All that is literature seeks to communicate power” (Thomas De Quincey);
• “It is not what an author says, but what he or she whispers, that is important” (Logan Pearsall Smith);
• “What lasts is what is written. We look to literature to find the essence of an age” (Peter Brodie);
• “Good people are good because they’ve come to wisdom through failure” (William Saroyan);
• “All literature is protest. You can’t name a single literary work that isn’t protest” (Richard Wright);
• “The bravest of individuals is the one who obeys his or her conscience” (J. F. Clarke);
• “We do not read novels for improvement or instruction” (Oliver Wendell Holmes);
• “In a dark time, the eye begins to see” (Theodore Roethke);
• “A person is a person through other persons” (Archbishop Desmond Tutu);
• The right good book is always a book of travel; it is about a life’s journey” (H.M. Tomlinson).

The quotations listed above serve as appropriate examples of the NYS English Regents critical lens essay quotes. Thus, they might be widely used during the preparation for the Regents or any other type of exam where a critical lens essay is one of the tasks.

How to write a critical lens essay step by step?

Below there are detailed steps that may serve as an instruction for writing this type of essay. Each step will be followed by the relevant part of a critical lens essay example to make the guideline even more clear.

Step 1. Choose a meaningful quote and introduce it, indicating its author. Add a few sentences before it to get the readers involved and let them follow the logical flow of your thoughts.

Step 2. Interpret the quote, rewrite it using your own words. That would be your thesis.

Step 3 . Agree or disagree with the thesis.

Step 4. Introduce two literary references that prove your thesis. Express in a few words how they support the thesis.

Step 5. Start writing the first body paragraph focusing on the first literary reference mentioned in the intro part. Choose the literary element, through which the text and thesis would be connected. Prove that the text example supports the quote.

Step 6 . Do the same thing focusing on the other literary work while writing the second body paragraph.

Step 7. Summarize everything you have written. State the quote and thesis again, the latter should be rephrased, though. The conclusion has to prove the coherence between the thesis and arguments written above.

Below there is a sample of a critical lens essay that may be referred to during the preparation for the English Regents.

Critical lens essay example for English Regents

Human life is a constant alternating between success and failure. Today one may enjoy the abundance of money and opportunities, while tomorrow may bring something totally different. Theodore Roosevelt once said, “Do what you can, with what you have, and where you are.” One’s duty in life is to do one’s best, strive to survive and get moving using all the skills and resources available, regardless of the circumstances. Life indeed often forces people to keep trying even in the most unfavorable conditions and teaches that doing this is the only key to win. Both Robinson Crusoe by Daniel Defoe and Love of Life by Jack London support the idea that all the problems can be solved if the person is well motivated and wise enough to direct all the efforts and chances towards one’s goal.

The novel Robinson Crusoe illustrates a strong will of an ordinary man who faced unpredictable circumstances after a shipwreck. He has lost everything and everyone just in a moment. The fate left him alone on the desert island in total despair. Daniel Defoe uses the direct method of characterization showing main hero’s desire to survive. He was not expecting such a fatal failure. Robinson got a tremendous challenge that let him acknowledge himself as a miserable creature but also created perfect conditions for self-discovery. On the unknown out-of-the-way patch of the Earth, he found himself completely helpless and alone in his struggle for life. Nevertheless, Crusoe realized the real value of human life and gathered all the possible means he could ever find on the island, which combined with his brilliant intellect and willpower saved him afterwards. The story is narrated in the form of his own diary, which pictures the hero in the most veritable way. He kept trying over and over again while building his refuge place, acquiring hunting and farming skills. The long twenty-eight years way through failures to victory taught him that the main thing in life is the ability to pull oneself together when there seems like nothing can be done. Robinson proved that it is not the setting and opportunities that matter, but a strong goal-oriented approach to the problem.

Love of Life demonstrates another example of overcoming hardships in life. Gold seekers are lost in the White Desert. While one of them leaves his comrade in trouble, he succeeded to survive. Through the tone of the novel, it is evident that Jack London supports his hero picturing him as a symbol of a victorious will power. Physical exhaustion, freezing cold of the White Desert, pain from the betrayal of the only friend, fear of loneliness, hunger, which is not eased with the miserable stuff that cannot even be called food. Moreover, he suffers from the pain in legs, being severely injured. Torturing body ache is combined with the despair of useless attempts to gain food and unbearable exhaustion, which leads to hallucinations. Yet, in spite of all he has encountered, despite being frightened and despaired, the man found enough courage not to give up but went on with a great passion for life, which helped him during struggles with a bear and a wolf. His irresistible desire to live, tranquility, and patience is what removed the fear and saved him from death. The hero was doing what he could: he was able to walk, he walked; he could only crawl, he crawled; he was obliged to fight with wild animals, so he did. As long as there were those primitive means for survival, no matter how adverse the setting, the man continued his difficult path and, finally, he succeeded.

All things considered, it seems sensible to assume that in order to lead the life to the full and survive despite all the troubles, one needs to use each little thing around, notwithstanding the limits. The core of success is human mind and will that dominates over poor conditions, situations that seem to be impossible, fears, and desperate obstacles. Thus, the saying “Do what you can, with what you have, and where you are” serves as the right motto for the general life philosophy.

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• LENS Essay Series: “Reviving the Right to Rescue: Analyzing International Law on the Use of Force for Hostage Rescue in the 21st Century”

by Charlie Dunlap, J.D. · 27 March 2024

One way of defeating and, importantly, deterring hostage-taking is through the rescue of those taken–by deadly force if necessary. 

What are those complications?  Ms. French’s essay, “ Reviving the Right to Rescue: Analyzing International Law on the Use of Force for Hostage Rescue in the 21st Century “ details the legal issues involved (and you may be surprised at some of the objections).  She concludes (correctly in my view) that the “right to rescue” exists and that it ‘is not only legally permissible but morally and practically desirable.”

Here’s the abstract of Katherine’s extremely timely (and well-researched) article:

The capture of foreign nationals is becoming an increasingly popular strategy for bad actors seeking global attention or change. The recent practices of Hamas, Russia, Iran, and other enemies of the rules-based international order demonstrate this trend. While States universally recognize the illegality of hostage-taking, they fail to reach a consensus regarding how they may respond. The choice to use force to bring these nationals home is the most controversial of all.

The so-called “right to rescue” was once standard practice, but its support has faded since the signing of the United Nations Charter, which reset the guidelines on uses of force. Nevertheless, the right to rescue has not gone away. This paper explains how international law continues to support States’ legitimate ability to use force to rescue nationals held abroad by governments or non-state actors. Such a right is not only legally permissible but morally and practically desirable, as no end to the upsetting practice of hostage-taking is in sight.

If you want to really understand this in-the-headlines topic, be sure to read Katherine’s full essay found here .

About the Author

At Duke, Katherine is Co-President of the International Law Society, VP of Outreach for the National Security Law Society, 2L Rep for the Women Law Student Association, a Notes Editor for the Duke Law Journal, and a member of the Moot Court Board. Following law school, she will serve as an Army Judge Advocate.

Remember what we like to say on  Lawfire ® : gather the facts, examine the law, evaluate the arguments – and then decide for yourself !

Tags: hostages Katherine French

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The Morning

Life at guantánamo bay.

Inside a new season of “Serial.”

By Desiree Ibekwe

Around 780 people have been detained at the prison at Guantánamo Bay since it opened in January 2002. Thirty men remain there today , many of whom have not been charged.

The podcast “Serial,” which debuted in 2014 with the story of a questionable murder conviction, has dedicated its new season to Guantánamo. Over nine episodes, it tells the story of the prison through a personal lens, by way of conversations with people who worked or were detained there.

I spoke with the hosts, Sarah Koenig and Dana Chivvis, about the show.

Desiree: There’s an interesting political story to be told about Guantánamo, but why did you decide to tell this story through the people who lived through it?

Sarah: The government threw all of these normal people on Guantánamo, and they had to sort out how on earth are we supposed to behave in here, how are we supposed to make sense of this? So over the course of 20 years, you saw this thing, which was kind of like a terrible spasm in the national response to 9/11, harden into something that was trying to justify and sustain itself. I think that’s what we were interested in: Who were those people who are having to make decisions, who are having to survive a thing not of their own making, and what did that look like and what did that feel like?

In the reporting of the podcast, did anything upend your preconceived notions or surprise you about Guantánamo?

Dana: The people who work in Guantánamo for the military rotate in and out about every nine months, but the prisoners have been there, so very quickly the prisoners learned how the prison operated better than the guard force did. I heard a lot of stories about prisoners who would correct the guards and be like, “No, no, you need to give me 10 squares of toilet paper,” or “You’re not handcuffing me right. Let me show you how to do it.”

And I think the thing that surprised me the most as I started digging into it was that we were told by the Bush administration that these are the worst of the worst, these are the people who did 9/11. As it turned out, they were not, and the people who worked in Guantánamo — and a lot of people in the Bush administration — knew that from within months of the first prisoners’ arriving. There wasn’t a tremendous amount of screening going on. It was really like an overflow room for the war in Afghanistan. And the prisoners who are there, and were there, have now been dipped in this toxic paint of this place forever.

One thing that struck me was that while things at Guantánamo were scary and unsettling, it was also a really surreal place.

Sarah: I think the thing that a lot of people either don’t know or forget is that it’s just a naval base. Like a normal naval base, it has sandwich shops and a coffee shop and a school and a chapel. It’s just when you first visit there, you’re not psychically ready to see that. But by the third time I went, I wasn’t even noticing that stuff. Once, I was there with these young people from various N.G.O.s who were there to observe the court, and one guy goes, “I got a coffee this morning, and then this woman told me to ‘have a nice day,’ and I was like, What are you talking about? How can I have a nice day?” And I was like, “Oh, you’re a newcomer. You’ll get over that.”

How have you seen Guantánamo evolve?

Sarah: When I was first reporting on it in the early 2000s, there were hundreds of prisoners there, and it felt very active and very violent and very scary and very shocking. And in 2015, I think there were 122 people. It wasn’t like the bad wasn’t still happening, but it had dug in for the long term. These people just live here now, and the court is chugging along. It felt very like an institution.

To me it feels like it’s in its last throes, and it’s sort of falling apart. But it’s interesting — I spoke to an attorney who has been working there for more than a decade on the same case, and he was like, “Every time you come, you think this thing is about to fall apart, and I’m here to tell you: You have no idea whether it’s falling apart.”

Listen to the first two episodes of the season here .

Sarah and Dana spoke with Times Insider about the making of the show .

Photography is largely forbidden at Guantánamo. Carol Rosenberg, who reports on the prison for The Times, explains what you can learn from a single image .

THE LATEST NEWS

Middle east.

Benjamin Netanyahu’s cabinet is divided about whether ultra-Orthodox Jews should be required to join the Israeli Army .

Negotiations on a cease-fire in the war in Gaza are expected to resume today in Cairo , according to an Egyptian state-owned TV channel.

Airdrops play a prominent role in efforts to deliver food and supplies to Gaza. A Times photographer observed one aboard a Jordanian Air Force plane. See the images .

U.S.-led airstrikes against the Houthi militia and inflation have raised concerns about a new humanitarian crisis in Yemen .

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Ukrainian brigades are running their own marketing campaigns outside the official mobilization system to attract recruits.

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Protests by farmers in Europe have emboldened a far right that thrives on grievances.

See images from Reuters of Christians around the world celebrating Holy Week.

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A woman in Texas who was falsely charged with murder after using an abortion pill has filed a lawsuit against the local prosecutor’s office and its leaders.

Thousands gathered on Long Island for the funeral of a New York City police officer who was shot to death in the line of duty. His killing has become a political flashpoint.

Chance Perdomo, an actor known for his roles in the series “Gen V” and “Chilling Adventures of Sabrina,” died on Friday at 27 .

THE SUNDAY DEBATE

Will the collapse of Francis Scott Key Bridge hurt the Port of Baltimore?

Yes. The bridge’s destruction has cut off one of the busiest ports in the country. “The biggest generator of who knows how many millions of sticky dollars over the centuries, dollars that stuck right here, is at a standstill,” Will Englund writes for The Washington Post .

No. The problems won’t be as severe as people think. “Given the hard lessons learned during the past decade, significant price shocks or product shortages are unlikely,” Tinglong Dai writes for The Baltimore Banner .

FROM OPINION

Vladimir Putin will use the attack on a concert hall near Moscow to escalate his campaign in Ukraine, Hanna Notte argues.

Generative A.I. loves buzzwords. As the technology spreads, it will pollute our language , Erik Hoel writes.

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MORNING READS

Jane Goodall: The activist celebrated her upcoming 90th birthday with 90 dogs.

Doomscrolling? Try ringing a doorbell for fish instead.

Mystery: Old newspaper stories helped researchers find a 19th-century shipwreck in Lake Michigan.

Points: Credit card companies are changing the fees they charge merchants. That may affect travel rewards .

Vows: He expresses himself through art, she through math. They have found ways to merge work with love .

Lives Lived: Robert Moskowitz was a painter who was inspired by the New York City skyline. His work took on new meaning after 9/11. Moskowitz died at 88 .

THE NEW YORK TIMES MAGAZINE

The chef José Andrés is famous for his food and for his humanitarian work. See behind the scenes at Zaytinya , where he still approves every dish on the menu.

Screenland: Why does every Southern accent in a movie sound so bad ?

A writer recommends turning on a classic rock radio station in your car.

TALK | FROM THE MAGAZINE

By David Marchese

I’ll be part of a new Q. and A. franchise, The Interview, that’s launching in late April. Before then, I’m sharing some of my favorite past interviews. This one, from 2022, is with the stand-up comedian Jerrod Carmichael, who was then dealing with the familial fallout of having publicly come out as gay in his HBO special “Rothaniel.”

You’re trying hard to tell the truth these days, but aside from what’s going on with your family, does committing to honesty present problems in your day-to-day life? It’s not easy to be fully honest with everyone.

Oh, people get mad at you. I don’t like that but I know that’s a part of telling the truth — the reaction isn’t consistent. I used to lie to keep a consistent reaction, which was all about Like me, like me, like me . I told the truth about who I am and now there’s a rift with my mom. I was lying because it was more pleasant.

For other people.

For other people! And thus for me. I don’t like not talking to my mom. But it’s a byproduct of being honest. That’s the part of coming out, the relationship with my mom, that I don’t like. It was a truth I was afraid to say because of that one relationship. But it’s who I am.

What did you feel inside when you delivered material that conveyed one thing about who you were when the truth was another?

I don’t know, man. I don’t know because I wouldn’t have called myself gay. I could not accept that. That’s why it’s important for me to say it now. There are certain phrases that have no substitute. Like “I’m gay” or telling someone “I’m sorry.” But people can live in cognitive dissonance. I did.

Read more of the interview here .

King of King’s: “Carrie,” Stephen King’s debut novel, was published 50 years ago next month. The Times Book Review’s editor, Gilbert Cruz, offers a guide to the author’s essential books .

Borrowed titles: Many modern book names allude to other works of literature. A.O. Scott explores our habit of dressing up new writing in secondhand words .

Our editors’ picks: “The Morningside,” a book about a version of New York in climate collapse, and seven other books .

Times best sellers: Percival Everett’s book “Erasure” was adapted into the Oscar-winning movie “American Fiction.” His latest release, “James,” a reimagining of Mark Twain’s “Adventures of Huckleberry Finn,” is new on the hardcover fiction list .

THE MORNING RECOMMENDS …

Cool down with a good fan .

Look good in the best cheap sunglasses .

Spend 36 hours in Mumbai , India.

Read “Where Rivers Part,” a memoir by Kao Kalia Yang.

THE WEEK AHEAD

What to watch for.

Today is Easter.

Connecticut, New York, Rhode Island and Wisconsin hold primaries on Tuesday.

Donald Trump has until Thursday to post a $175 million bond in his New York civil fraud case, after an appeals court lowered the amount and gave him more time.

In her Five Weeknight Dishes newsletter, Emily Weinstein encourages you to make rice bowls for dinner . Try out Eric Kim’s extremely delicious and extremely simple bacon and egg don. Or whip up a salmon and rice bowl, which comes together in one pot.

NOW TIME TO PLAY

Here is today’s Spelling Bee . Yesterday’s pangram was jackpot .

Can you put eight historical events — including the chicken, the egg and the reign of Louis XIV — in chronological order? Take this week’s Flashback quiz .

And here are today’s Mini Crossword , Wordle , Sudoku and Connections .

Thanks for spending part of your weekend with The Times.

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Desiree Ibekwe is a writer for The Morning newsletter, based in London. More about Desiree Ibekwe