Doctor Faustus and the devil

I​‌‍‌‍‍‌‍‌‌‌‍‍‍‍‌‌‌‌‌​ want this paper to be about how Doctor Faustus is a prime example on temptation and deception it has to be about how Doctor Faustus represents that. Here the intrusions Length: 3 to 4 pages, not counting the works cited page. (But a works cited page is required!) The bare minimum is 3 pages–not 2 & 1/2, not 2 & 3/4, not 2 & 7/8. Take this seriously. If you give me less than 3 full pages, it will go badly for you. Format: MLA; for in-text and works cited page citations, see the page, Works Cited for Essay 2. Subject You will write about one of these texts: Beowulf, Don Quixote, Marlowe’s Doctor Faustus, Shakespeare’s sonnets, or Othello. (If you wrote about Beowulf in Essay 1, you may not write about Beowulf in Essay 2.) You may NOT write a medley of three or four mini-essays, focusing on Don Quixote for one body paragraph, Faustus for one body paragraph, Othello for one body paragraph, and so on. Do that, and it will go very, very badly for you. I want a sustained discussion on one text only. The subject is not only the piece of literature, but some idea or issue or image or formal approach being discussed, implied, or utilized by the author. In class, for example, we’ve discussed subjects such as identity, love, sexuality, desire, religion, spirituality, nature, cultural difference and exchange, the hero’s journey and how it may represent the universal individual experience or the psyche, etc. Possible subjects, though, are virtually endless–violence, war, class, materialism… Thesis and Supporting Topics A subject, however, just gets you started in your thinking process. You should do a lot of brain-storming, listing, free-associating, perhaps sketching, scribbling, or bubbling in your notebook. Before you start actually drafting your essay, you need a thesis. This is your big idea about the subject. The thesis is the thing you must prove, which gives you direction, which propels your essay forward. But still, even before you get going, you need to come up with supporting topics–those smaller ideas which, altogether, add up to your thesis. For example: My subject is the relativity of reality in Don Quixote. My thesis is, “When Don Quixote counsels Sancho Panza to ‘know thyself,’ what he really means is, Decide who you are.” My supporting topics might be: 1) Don Quixote isn’t satisfied with the world–or “reality”–as it is. 2) Alonso Quexana is a creature of the world as it is, and therefore cannot change that world. 3) The Don Quixote persona can change that world. 4) Don Quixote feels strongly enough that this is the only solution, therefore he essentially proselytizes Sancho Panza to pursue the same course of action. In a three-to-four-page essay, three or four supporting topics is a good place to start. REMEMBER: Supporting topics and sources are not the same thing. To put it another way, a source cannot be one of your supporting topics. A source is a text or some other creation or expression by someone other than yourself. A supporting topic is a smaller idea (of yours) that helps prove your larger idea–the thesis. Othello, for example, is not one of your ideas. Sources Three sources are required First Source Your first source, of course, is the selection you choose to write about. In my hypothetical essay, I’m writing about Don Quixote, so my first–or main–source is Don Quixote, obviously. My whole essay is going to focus on Don Quixote. My intro’ paragraph will only mention Don Quixote–no other works. Each of my body paragraphs will focus on Don Quixote. I’ll cite from Don Quixote in each of my body paragraphs. Obviously, Don Quixote will appear on my works cited page, same as with all the sources I cite in my essay. Second Source Your second source must come from the same list as your first source. In my hypothetical essay, since I’m already using Don Quixote, I can choose from Beowulf, Faustus, Shakespeare’s sonnets, or Othello. Let’s say I find something in Faustus that fits my discussion. I will only make brief, fleeting reference to Faustus–a short quote, or maybe a very, very, very short summary of a specific scene, followed by parenthetical documentation. It will be part of my Don Quixote discussion. I will not mention Faustus in my intro’ paragraph. It will not be part of one of my supporting topics. I will definitely NOT have a body paragraph that focuses on Faustus. I will not talk about Faustus at length–only a short reference, followed by a sentence that ties it to my Don Quixote discussion, and then I’m done with it. Obviously it will appear in my works cited page. Third Source Your third source may also come from the same list. In that case (in my hypothetical Don Quixote essay), I’m left with Beowulf, Shakespeare’s sonnets, and Othello. So maybe I find something in Othello that fits my discussion. But you may go outside the list for a third source. You may use something from the first half of our semester. You may use any applicable primary source–a play, novel, short story, poem, work of art, film, TV show, video game, etc. Maybe, for my hypothetical Don Quixote essay, I find something appropriate in the movie, Nacho Libre. I don’t want you using any secondary sources, however. What’s a secondary source? First of all, a primary source is something created for its own sake. It doesn’t depend on any other source. All the works of literature we’ve read for this course are primary sources. Whenever someone writes about something else, however, we call that a secondary source. An essay or article about Gilgamesh or Othello is a secondary source. Why do I not want you using secondary sources? This is a survey course, and this essay is–in a manner of speaking–a kind of test. I want to see your ideas. I don’t want your thoughts influenced (or polluted) by sources tha​‌‍‌‍‍‌‍‌‌‌‍‍‍‍‌‌‌‌‌​t I haven’t vetted. Same as with your second source, you’ll only make very brief, specific reference to your third source (with parenthetical documentation), in the context of your overall discussion. What’s the absolutely worst thing you could do, when it comes to sources? The worst thing you could do is use online study guides, like Shmoop, Cliff’s Notes, Sparknotes, or anything like that. Absolute crap. Use anything remotely like that, and I will fall on you like a ton of bricks. Also, don’t cite the dictionary. You’re in college now. Just cut it out. Structure Your introductory paragraph must feature a clear, strong, thought-provoking thesis statement. All of your supporting topics should also be clear in the intro’ paragraph. The intro’ paragraph should be otherwise brief. It should be the shortest paragraph in your essay, by far. Save all particulars (like references to sources) for the body of the essay. I recommend one body paragraph per supporting topic. (There are other organizational approaches in academic essay-writing, but they do not apply to short essays such as ours.) If your essay falls short of the minimum page requirement, the best solution is to add further and better development to each body paragraph, and/or better interpretive follow-up to your references to sources. The last-resort solution would be to come up with another supporting topic–and a body paragraph that corresponds to it–and fit it into a logical place in the body of the essay. Put your body paragraphs in some kind of sensible, persuasive order. Going from your weakest to your strongest supporting topic is a very good approach, but there are other effective strategies, depending on the nature of your subject and your thesis: chronology, the structural sequence of a poem, the evolution of an idea or image in a story, etc. Each of your body paragraphs will: 1. begin with a general topic sentence, followed by 2. at least one sentence of development (of the topic), if not two or three or more sentences; 3. then you must provide support, in the way of quotations, paraphrases, or summaries from your sources, properly introduced and properly documented, 4. followed up by your explanations, observations, interpretations. Do not quote a text and just leave it. You must follow up! This process of developing an idea, supporting your idea with reference to a source, and then following it up with your comments, can be repeated multiple times within a single (body) paragraph. Your concluding paragraph will be similar to the intro’ paragraph in one sense, in that it is briefer and more general than your body paragraphs. I recommend this formula: 1) Briefly review your thesis and supporting topics. As our essay is short, this can be done with a single sentence, and certainly no more than two. 2) Provide additional information–i.e., information that you did not write about anywhere else in your essay–that also supports your thesis. What if you’d needed to write a longer essay and needed to come up with one or two more supporting topics, what would those be? All you would have to do is name them. No need to go into any detail. 3) Point us in new directions. What would the logical sequel to this essay be? Again, no need for detail–just a general sentence or two. Audience We are your audience. We have read the same stuff you’ve read. There is no need for start-to-finish, blow-by-blow summaries of any of our poems or stories. There’s no need to tell us who Shakespeare is or who Marlowe is. There’s no need to explain what literature is. No need for stupid filler phrases like “throughout history,” “in our society,” “we as humans,” or any other pointless fluff like that. Again: no lengthy summaries. This is a college-level essay, not an elementary school book report. Extended summaries, in a class like ours, are a waste of essay space, and I will mark you down. Imagine walking out of a movie theater with friends–who, of course, have just watched the same movie with you–and retelling them the story of the movie, from start to finish. How stupid would that be? Pretty stupid, right? Well, we don’t do that here, either. When you walk out of the movie theater, you say things like, “Wasn’t that cool when the train blew up? It kind of reminded me of that scene from The Fugitive . . .” and so on. In other words, we engage our friends in a conversation about a shared knowledge base. The unique element that you bring to the conversation is what you think about it. Tone This is a humanities course, and this is literary analysis, so first-person (“I,” “me,” “my,” “we,” “us,” “our,” etc.) and second-person (“you,” “your,” etc.) references are okay. (Don’t overuse them, though. Beginning sentences with “I think,” “I believe,” or “in my opinion” only weakens what you have to say.) You may use contractions.* What I don’t want to see are what I call “meta-pronouncements.” This is when you say things like, “In this essay I will proceed to talk about how the Persian poet Rumi’s use of flower imagery is less sexual than it is spiritual.” Just cut to the chase and say, “The Persian poet Rumi’s use of flower imagery is less sexual than it is spiritual.” You wouldn’t say, “I’m about to walk up to the window and point and say the sky is

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