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Argument and Persuasion: Structuring and Writing an Argument Essay

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• Structuring and Writing an Argument Essay

Page Overview

This page deals with the process of writing the argument: planning, structuring, strategies, writing, revision.

Pre-Writing Considerations

There are things that should be given some attention before you begin writing your argument.  Thoughtful planning in the pre-writing stage increases the chances of your argument successfully convincing your audience.  A well-executed piece of writing should be unified, coherent, and complete.

unified = the paper presents only a single idea or, if more than one idea, one point is made the principal one and the others are subordinated to it 

coherent = the discussion flows smoothly and logically and is easy for the reader to follow; trying to make sense of the writing does not become an ordeal

complete = everything that should be said, has been said; no questions are left in the mind of the reader

Achieving a coherent, complete, unified piece of Argumentative Writing 

1.  Clearly state the argument/proposition of your essay.

2.  Analyze the proposition.  First, jot down points of conflict between your view and the opposing view.  Second, think over your jottings and try to decide which points are the issues on which your argument should hinge.  Third, arrange your jottings in order to give unity and coherence to your essay.

3.  Write a paragraph (or more if necessary) on each point of conflict.  (This step will have some variation, depending on whether you are using the block or point pattern of organization.)

4.  Analyze and evaluate what you have written to see whether (a) the evidence seems reliable and (b) the reasoning free of fallacies.

5.  Establish effective transitions between the discussions of the various points ( coherence ), keeping in mind that your objective is to connect each point to the main contention of your theme, the main proposition.

6.  Think of your introduction.  What makes the topic worth arguing about now (purpose)?  (NOTE:  Your topic should be broad enough to interest a large number of people, yet narrow enough that you can focus and manage the discussion.)  What kind of people are you writing for (audience)?  Can you depend on an interested and sympathetic hearing, or must you strive to gain attention and win people over?  If you have to gain attention, how will you go about it?  After you have thought about these things and written a first draft of your introduction, do you think it necessary to go back and revise the discussion in the body of your essay to make it better adapted to your audience?

7.  Treat your conclusion as the last impression you will leave on your readers.  Do you return here to your key point (your thesis), showing how your whole argument essay bears on and supports it?  Do you leave your readers with a positive impression of your effort, even if you cannot be sure of having totally convinced them by reason? 

Outlines for an Argument Essay

Pattern Outlines for an Argument Essay

(Based on https://apps.spokane.edu/.../Summary%20Response%20Essay%20Assignment.pdf

     In the context of argument, "pro" means agree/support, and "con" means disagree/oppose.   Whether you structure your argument to follow the block style or point-by-point pattern, the three principal components of presentation, support, and refutation must be included.  A point-by-point structure probably will be easier to follow, as the block style creates some separation between the "pro" and "con" sides of an argument which may require readers to do some up-and-down "scrolling" of the text.

Breaking it Down in Detail

• Argument Deconstructed Source: Mesa Community College. Provides multiple links to cover argument in-depth and from many aspects. Includes argument essay charts, outlines, and worksheets.

Defining Arguments:  defines what argument is and is not while providing some insights on laying the groundwork before the writing begins

How To Create an Argument:  covers the stages of pre-writng, writing, and revising an argument

Argument at a Glance: P.A.P.A.: a blank page with no content

Argument Claims:  discusses types of claims and perspectives from which to launch your argument; includes links to sample readings

Argument Outline:  provides outlines for various argument structures and types and also contains worksheets for preparing an argument

Rogerian Argument:  explains an alternative approach to the "traditional" argumentative style

Ethos, Logos, and Pathos:  offers tips on how to interact with the audience in an argumentative context

Fallacies:   a glossary of things to avoid

Sample Essays:  a selection of seven argumentative essays written by students

Argument on the Web

The Purdue OWL:   The OWL is the Online Writing Laboratory maintained by Purdue University.  It is a comprehensive, encyclopedic online reference source for nearly all aspects of research and writing, from topic selection to citation styles and source evaluation.  Every serious researcher should bookmark the OWL. 

For information regarding writing argumentative papers, either type "Purdue OWL"   argument  into an internet search box.  The first page of results provides links to more specific aspects of writing argument.  Or, you can type the word argument into the "Search the OWL" box (https://owl.purdue.edu/search.html).   Once you have landed on any OWL screen, it is good to scan the left pane for other pages which you may find useful.  

CAVEAT:  Purdue OWL has merged with Chegg, a for-profit company who has created a citation machine service for citation management.  This partnership has resulted in pop-up advertisements appearing on OWL screens as well as permitting Chegg influence on OWL's citation help pages.  Those using the OWL may wish to keep these things in mind.

Useful options besides the Purdue OWL are 

• Excelsior College Online Writing Lab  ( https://owl.excelsior.edu/ )
• Massey University OWLL ( http://owll.massey.ac.nz/index.php )

To locate information on the internet on argument, in the search box type argument along with a modifying term such as writing or structure.

To locate additional LibGuides on argument on the internet, in the search box type argument libguide.

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Purdue OWL - Introductions, Body Paragraphs, and Conclusions for an Expository/Persuasive Essay

Introductions, Body Paragraphs, and Conclusions for an Expository/Persuasive Essay

Introduction

The introduction is the broad beginning of the paper that answers three important questions:

• What is this?
• Why am I reading it?
• What do you want me to do?

You should answer these questions by doing the following:

• Set the context – provide general information about the main idea, explaining the situation so the reader can make sense of the topic and the claims you make and support
• State why the main idea is important – tell the reader why s/he should care and keep reading. Your goal is to create a compelling, clear, and convincing essay people will want to read and act upon
• State your thesis/claim – compose a sentence or two stating the position you will support with logos (sound reasoning: induction, deduction), pathos (balanced emotional appeal), and ethos (author credibility).

Thesis Checklist

Your thesis is more than a general statement about your main idea. It needs to establish a clear position you will support with balanced proofs (logos, pathos, ethos). Use the checklist below to help you create a thesis.

This section is adapted from Writing with a Thesis: A Rhetoric Reader by David Skwire and Sarah Skwire:

Make sure you avoid the following when creating your thesis:

• A thesis is not a title: Homes and schools (title) vs. Parents ought to participate more in the education of their children (good thesis).
• A thesis is not an announcement of the subject: My subject is the incompetence of the Supreme Court vs. The Supreme Court made a mistake when it ruled in favor of George W. Bush in the 2000 election.
• A thesis is not a statement of absolute fact: Jane Austen is the author of Pride and Prejudice.
• A thesis is not the whole essay: A thesis is your main idea/claim/refutation/problem-solution expressed in a single sentence or a combination of sentences.
• Please note that according to the MLA Handbook for Writers of Research Papers , Sixth Edition, "A thesis statement is a single sentence that formulates both your topic and your point of view" (Gibaldi 56). However, if your paper is more complex and requires a thesis statement, your thesis may require a combination of sentences .

Make sure you follow these guidelines when creating your thesis:

• A good thesis is unified: Detective stories are not a high form of literature, but people have always been fascinated by them, and many fine writers have experimented with them (floppy). vs. Detective stories appeal to the basic human desire for thrills (concise).
• A good thesis is specific: James Joyce’s Ulysses is very good. vs. James Joyce’s Ulysses helped create a new way for writers to deal with the unconscious.
• Try to be as specific as possible (without providing too much detail) when creating your thesis: James Joyce’s Ulysses helped create a new way for writers to deal with the unconscious. vs. James Joyce’s Ulysses helped create a new way for writers to deal with the unconscious by utilizing the findings of Freudian psychology and introducing the techniques of literary stream-of-consciousness.

Quick Checklist:

_____ The thesis/claim follows the guidelines outlined above

_____ The thesis/claim matches the requirements and goals of the assignment

_____ The thesis/claim is clear and easily recognizable

_____ The thesis/claim seems supportable by good reasoning/data, emotional appeal

Body Paragraphs

Summary: This resource outlines the generally accepted structure for introductions, body paragraphs, and conclusions in an academic argument paper. Keep in mind that this resource contains guidelines and not strict rules about organization. Your structure needs to be flexible enough to meet the requirements of your purpose and audience.

Body Paragraphs: Moving from General to Specific Information

Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - the broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap up or warrant).

  The four elements of a good paragraph (TTEB)

A good paragraph should contain at least the following four elements: T ransition, T opic sentence, specific E vidence and analysis, and a B rief wrap-up sentence (also known as a warrant) – TTEB!

• A T ransition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand off from one idea to the next.
• A T opic sentence that tells the reader what you will be discussing in the paragraph.
• Specific E vidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
• A B rief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.

Rebuttal Sections

In order to present a fair and convincing message, you may need to anticipate, research, and outline some of the common positions (arguments) that dispute your thesis. If the situation (purpose) calls for you to do this, you will present and then refute these other positions in the rebuttal section of your essay.

It is important to consider other positions because in most cases, your primary audience will be fence-sitters. Fence-sitters are people who have not decided which side of the argument to support.

People who are on your side of the argument will not need a lot of information to align with your position. People who are completely against your argument - perhaps for ethical or religious reasons - will probably never align with your position no matter how much information you provide. Therefore, the audience you should consider most important are those people who haven't decided which side of the argument they will support - the fence-sitters.

In many cases, these fence-sitters have not decided which side to align with because they see value in both positions. Therefore, to not consider opposing positions to your own in a fair manner may alienate fence-sitters when they see that you are not addressing their concerns or discussion opposing positions at all.

Organizing your rebuttal section

Following the TTEB method outlined in the Body Paragraph section, forecast all the information that will follow in the rebuttal section and then move point by point through the other positions addressing each one as you go. The outline below, adapted from Seyler's Understanding Argument , is an example of a rebuttal section from a thesis essay.

When you rebut or refute an opposing position, use the following three-part organization:

The opponent’s argument – Usually, you should not assume that your reader has read or remembered the argument you are refuting. Thus at the beginning of your paragraph, you need to state, accurately and fairly, the main points of the argument you will refute.

Your position – Next, make clear the nature of your disagreement with the argument or position you are refuting. Your position might assert, for example, that a writer has not proved his assertion because he has provided evidence that is outdated, or that the argument is filled with fallacies.

Your refutation – The specifics of your counterargument will depend upon the nature of your disagreement. If you challenge the writer’s evidence, then you must present the more recent evidence. If you challenge assumptions, then you must explain why they do not hold up. If your position is that the piece is filled with fallacies, then you must present and explain each fallacy.

Conclusions

Conclusions wrap up what you have been discussing in your paper. After moving from general to specific information in the introduction and body paragraphs, your conclusion should begin pulling back into more general information that restates the main points of your argument. Conclusions may also call for action or overview future possible research. The following outline may help you conclude your paper:

In a general way,

• restate your topic and why it is important,
• restate your thesis/claim,
• address opposing viewpoints and explain why readers should align with your position,
• call for action or overview future research possibilities.

Remember that once you accomplish these tasks, unless otherwise directed by your instructor, you are finished. Done. Complete. Don't try to bring in new points or end with a whiz bang(!) conclusion or try to solve world hunger in the final sentence of your conclusion. Simplicity is best for a clear, convincing message.

The preacher's maxim is one of the most effective formulas to follow for argument papers:

• Tell what you're going to tell them (introduction).
• Tell them (body).
• Tell them what you told them (conclusion).

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MLA Formatting and Style Guide

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

The following overview should help you better understand how to cite sources using MLA  9 th edition, including how to format the Works Cited page and in-text citations.

Please use the example at the bottom of this page to cite the Purdue OWL in MLA. See also our MLA vidcast series on the Purdue OWL YouTube Channel .

Creating a Works Cited list using the ninth edition

MLA is a style of documentation that may be applied to many different types of writing. Since texts have become increasingly digital, and the same document may often be found in several different sources, following a set of rigid rules no longer suffices.

Thus, the current system is based on a few guiding principles, rather than an extensive list of specific rules. While the handbook still describes how to cite sources, it is organized according to the process of documentation, rather than by the sources themselves. This gives writers a flexible method that is near-universally applicable.

Once you are familiar with the method, you can use it to document any type of source, for any type of paper, in any field.

Here is an overview of the process:

When deciding how to cite your source, start by consulting the list of core elements. These are the general pieces of information that MLA suggests including in each Works Cited entry. In your citation, the elements should be listed in the following order:

• Title of source.
• Title of container,
• Other contributors,
• Publication date,

Each element should be followed by the corresponding punctuation mark shown above. Earlier editions of the handbook included the place of publication and required different punctuation (such as journal editions in parentheses and colons after issue numbers) depending on the type of source. In the current version, punctuation is simpler (only commas and periods separate the elements), and information about the source is kept to the basics.

Begin the entry with the author’s last name, followed by a comma and the rest of the name, as presented in the work. End this element with a period.

Bhabha, Homi K. The Location of Culture. Routledge, 1994.

Title of source

The title of the source should follow the author’s name. Depending upon the type of source, it should be listed in italics or quotation marks.

A book should be in italics:

Henley, Patricia. The Hummingbird House . MacMurray, 1999.

An individual webpage should be in quotation marks. The name of the parent website, which MLA treats as a "container," should follow in italics:

Lundman, Susan. "How to Make Vegetarian Chili." eHow, www.ehow.com/how_10727_make-vegetarian-chili.html.*

A periodical (journal, magazine, newspaper) article should be in quotation marks:

Bagchi, Alaknanda. "Conflicting Nationalisms: The Voice of the Subaltern in Mahasweta Devi's Bashai Tudu." Tulsa Studies in Women's Literature , vol. 15, no. 1, 1996, pp. 41-50.

A song or piece of music on an album should be in quotation marks. The name of the album should then follow in italics:

Beyoncé. "Pray You Catch Me." Lemonade, Parkwood Entertainment, 2016, www.beyonce.com/album/lemonade-visual-album/.

*The MLA handbook recommends including URLs when citing online sources. For more information, see the “Optional Elements” section below.

Title of container

The eighth edition of the MLA handbook introduced what are referred to as "containers," which are the larger wholes in which the source is located. For example, if you want to cite a poem that is listed in a collection of poems, the individual poem is the source, while the larger collection is the container. The title of the container is usually italicized and followed by a comma, since the information that follows next describes the container.

Kincaid, Jamaica. "Girl." The Vintage Book of Contemporary American Short Stories, edited by Tobias Wolff, Vintage, 1994, pp. 306-07.

The container may also be a television series, which is made up of episodes.

“94 Meetings.” Parks and Recreation, created by Greg Daniels and Michael Schur, performance by Amy Poehler, season 2, episode 21, Deedle-Dee Productions and Universal Media Studios, 2010.

The container may also be a website, which contains articles, postings, and other works.

Wise, DeWanda. “Why TV Shows Make Me Feel Less Alone.”  NAMI,  31 May 2019,  www.nami.org/Blogs/NAMI-Blog/May-2019/How-TV-Shows-Make-Me-Feel-Less-Alone . Accessed 3 June 2019.

In some cases, a container might be within a larger container. You might have read a book of short stories on Google Books , or watched a television series on Netflix . You might have found the electronic version of a journal on JSTOR. It is important to cite these containers within containers so that your readers can find the exact source that you used.

“94 Meetings.” Parks and Recreation , season 2, episode 21, NBC , 29 Apr. 2010. Netflix, www.netflix.com/watch/70152031?trackId=200256157&tctx=0%2C20%2C0974d361-27cd-44de-9c2a-2d9d868b9f64-12120962.

Langhamer, Claire. “Love and Courtship in Mid-Twentieth-Century England.” Historical Journal , vol. 50, no. 1, 2007, pp. 173-96. ProQuest, doi:10.1017/S0018246X06005966. Accessed 27 May 2009.

Other contributors

In addition to the author, there may be other contributors to the source who should be credited, such as editors, illustrators, translators, etc. If their contributions are relevant to your research, or necessary to identify the source, include their names in your documentation.

Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason. Translated by Richard Howard , Vintage-Random House, 1988.

Woolf, Virginia. Jacob’s Room . Annotated and with an introduction by Vara Neverow, Harcourt, Inc., 2008.

If a source is listed as an edition or version of a work, include it in your citation.

The Bible . Authorized King James Version, Oxford UP, 1998.

Crowley, Sharon, and Debra Hawhee. Ancient Rhetorics for Contemporary Students. 3rd ed., Pearson, 2004.

If a source is part of a numbered sequence, such as a multi-volume book or journal with both volume and issue numbers, those numbers must be listed in your citation.

Dolby, Nadine. “Research in Youth Culture and Policy: Current Conditions and Future Directions.” Social Work and Society: The International Online-Only Journal, vol. 6, no. 2, 2008, www.socwork.net/sws/article/view/60/362. Accessed 20 May 2009.

Quintilian. Institutio Oratoria. Translated by H. E. Butler, vol. 2, Loeb-Harvard UP, 1980.

The publisher produces or distributes the source to the public. If there is more than one publisher, and they are all are relevant to your research, list them in your citation, separated by a forward slash (/).

Klee, Paul. Twittering Machine. 1922. Museum of Modern Art, New York. The Artchive, www.artchive.com/artchive/K/klee/twittering_machine.jpg.html. Accessed May 2006.

Women's Health: Problems of the Digestive System . American College of Obstetricians and Gynecologists, 2006.

Daniels, Greg and Michael Schur, creators. Parks and Recreation . Deedle-Dee Productions and Universal Media Studios, 2015.

Note : The publisher’s name need not be included in the following sources: periodicals, works published by their author or editor, websites whose titles are the same name as their publisher, websites that make works available but do not actually publish them (such as  YouTube ,  WordPress , or  JSTOR ).

Publication date

The same source may have been published on more than one date, such as an online version of an original source. For example, a television series might have aired on a broadcast network on one date, but released on  Netflix  on a different date. When the source has more than one date, it is sufficient to use the date that is most relevant to your writing. If you’re unsure about which date to use, go with the date of the source’s original publication.

In the following example, Mutant Enemy is the primary production company, and “Hush” was released in 1999. Below is a general citation for this television episode:

“Hush.” Buffy the Vampire Slayer , created by Joss Whedon, performance by Sarah Michelle Gellar, season 4, Mutant Enemy, 1999 .

However, if you are discussing, for example, the historical context in which the episode originally aired, you should cite the full date. Because you are specifying the date of airing, you would then use WB Television Network (rather than Mutant Enemy), because it was the network (rather than the production company) that aired the episode on the date you’re citing.

“Hush.” Buffy the Vampire Slayer, created by Joss Whedon, performance by Sarah Michelle Gellar, season 4, episode 10, WB Television Network, 14 Dec. 1999 .

You should be as specific as possible in identifying a work’s location.

An essay in a book or an article in a journal should include page numbers.

Adiche, Chimamanda Ngozi. “On Monday of Last Week.” The Thing around Your Neck, Alfred A. Knopf, 2009, pp. 74-94 .

The location of an online work should include a URL.  Remove any "http://" or "https://" tag from the beginning of the URL.

Wheelis, Mark. "Investigating Disease Outbreaks Under a Protocol to the Biological and Toxin Weapons Convention." Emerging Infectious Diseases , vol. 6, no. 6, 2000, pp. 595-600, wwwnc.cdc.gov/eid/article/6/6/00-0607_article. Accessed 8 Feb. 2009.

When citing a physical object that you experienced firsthand, identify the place of location.

Matisse, Henri. The Swimming Pool. 1952, Museum of Modern Art, New York .

Optional elements

The ninth edition is designed to be as streamlined as possible. The author should include any information that helps readers easily identify the source, without including unnecessary information that may be distracting. The following is a list of optional elements that can be included in a documented source at the writer’s discretion.

Date of original publication:

If a source has been published on more than one date, the writer may want to include both dates if it will provide the reader with necessary or helpful information.

Erdrich, Louise. Love Medicine. 1984. Perennial-Harper, 1993.

City of publication:

The seventh edition handbook required the city in which a publisher is located, but the eighth edition states that this is only necessary in particular instances, such as in a work published before 1900. Since pre-1900 works were usually associated with the city in which they were published, your documentation may substitute the city name for the publisher’s name.

Thoreau, Henry David. Excursions . Boston, 1863.

Date of access:

When you cite an online source, the MLA Handbook recommends including a date of access on which you accessed the material, since an online work may change or move at any time.

Bernstein, Mark. "10 Tips on Writing the Living Web." A List Apart: For People Who Make Websites, 16 Aug. 2002, alistapart.com/article/writeliving. Accessed 4 May 2009.

As mentioned above, while the MLA handbook recommends including URLs when you cite online sources, you should always check with your instructor or editor and include URLs at their discretion.

A DOI, or digital object identifier, is a series of digits and letters that leads to the location of an online source. Articles in journals are often assigned DOIs to ensure that the source is locatable, even if the URL changes. If your source is listed with a DOI, use that instead of a URL.

Alonso, Alvaro, and Julio A. Camargo. "Toxicity of Nitrite to Three Species of Freshwater Invertebrates." Environmental Toxicology , vol. 21, no. 1, 3 Feb. 2006, pp. 90-94. Wiley Online Library, doi: 10.1002/tox.20155.

Creating in-text citations using the previous (eighth) edition

Although the MLA handbook is currently in its ninth edition, some information about citing in the text using the older (eighth) edition is being retained. The in-text citation is a brief reference within your text that indicates the source you consulted. It should properly attribute any ideas, paraphrases, or direct quotations to your source, and should direct readers to the entry in the Works Cited list. For the most part, an in-text citation is the  author’s name and the page number (or just the page number, if the author is named in the sentence) in parentheses :

When creating in-text citations for media that has a runtime, such as a movie or podcast, include the range of hours, minutes and seconds you plan to reference. For example: (00:02:15-00:02:35).

Again, your goal is to attribute your source and provide a reference without interrupting your text. Your readers should be able to follow the flow of your argument without becoming distracted by extra information.

How to Cite the Purdue OWL in MLA

Entire Website

The Purdue OWL . Purdue U Writing Lab, 2019.

Individual Resources

Contributors' names. "Title of Resource." The Purdue OWL , Purdue U Writing Lab, Last edited date.

The new OWL no longer lists most pages' authors or publication dates. Thus, in most cases, citations will begin with the title of the resource, rather than the developer's name.

"MLA Formatting and Style Guide." The Purdue OWL, Purdue U Writing Lab. Accessed 18 Jun. 2018.

Paragraph Development with PIE

Paragraph Development with PIE Podcast

Paragraph development with pie transcript.

Greetings everyone. This is Kurtis Clements with another effective writing podcast. In this episode, I am going to talk about developing body paragraphs with a technique called PIE.

In my experience, writers often have one of two problem areas related to paragraph development: not enough development or not enough of the right kind of development. What I mean by the latter is the idea that just because a paragraph contains a lot of content does not necessarily mean that content is doing the best job developing the idea of the paragraph.

One good way to go about developing paragraphs is to use the PIE method, which is an approach that has been around in some form or another I imagine since the time of Aristotle. So for a long time. PIE is an acronym that stands for develop a limited point (that’s the P) in a paragraph; illustrate (that’s the I”) the point with supporting information; the E stands for explain how the evidence supports the point of the paragraph and relates to the thesis of the essay.

Restated: P = Point I = Illustrate E = Explain

Paragraphs need to make clear and focused points. I mean, that’s the point of a paragraph right? To make a point. Whether or not you use a topic sentence at the start of the paragraph does not matter, for the paragraph still needs to make a point.

In order to make a point, you have to illustrate the point by using evidence—details, facts, statistics, testimony, examples, and the like. Supporting information helps readers understand the point you are trying to make in a paragraph.

Evidence alone will not help you develop the point. What every paragraph needs is elaboration where you explain the relevance of the information presented as it relates to the point of the paragraph as well as the essay as a whole. As the writer, you need to offer thoughtful commentary of the supporting details you use to illustrate the point. This last part is critical to the success of a paragraph, for its this kind of commentary where the writer offers analysis and interpretation of the content as it relates to their point. It’s also how the writer connects the point of the paragraph to the larger point of the essay.

I am going to read a sample paragraph and as I do, listen for the elements of PIE that may be missing:

The United States Postal Service has a proud history. Benjamin Franklin was named Postmaster General in 1775 even before The Declaration of Independence was signed in 1776 (USPS, 2007). Through the evolution of the service, the mission of the USPS has remained the same: “provide universal service to all Americans. From the bottom of the Grand Canyon to the furthermost point in Alaska, mail gets through” (USPS, 2010,para. 4). The United States Postal Service provides 596,000 jobs and has donated over$70 million to breast cancer research (USPS, 2010).

What did you hear? Or, should I ask, what did you not hear? The paragraph starts out with a clear focus—the proud history of the postal service—and that point is illustrated with some good examples. But what’s it all add up to? Is there any explanation that discusses how the information relates to the point of the paragraph and to the larger point of the essay? Do you have any sense of what this paragraph as a whole is trying to support? Do you sense a connectedness to a thesis? I don’t think so. I see this paragraph as just floating in the sea.

This is how PIE can help you. If you think about your paragraphs as needing those three parts—Point, Illustration, and Explanation—then you are more likely to notice that what is lacking in the paragraph I read is explanation, language that helps readers understand the relevance of the information as it relates to the point of the paragraph and to the larger point, the thesis, of the essay. Listen to the revised version of the paragraph:

The United States Postal Service has a proud history. Benjamin Franklin was named Postmaster General in 1775 even before The Declaration of Independence was signed in 1776 (USPS, 2007). Through the evolution of the service, the mission of the USPS has remained the same: “provide universal service to all Americans. From the bottom of the Grand Canyon to the furthermost point in Alaska, mail gets through” (USPS, 2010,para. 4). In addition to those accomplishments, the USPS also provides nearly 600,000 jobs and has donated over $70 million to breast cancer research through its breast cancer awareness stamps (USPS, 2010). The United States Postal Service has been an important institution and provided valuable services for over two hundred and thirty years—all at no cost to U.S. taxpayers. While the post office needs to redefine how it conducts business in the electronic age, eliminating the service is not the answer. In fact, there is no reason the postal service cannot, once again, change with the times and continue to add to its rich history and accomplishments.

What do you think? Better? Did it seem as if the paragraph was trying to develop a point and that point was connected to a bigger idea? Was there enough explanation—that is, was there enough commentary on the information presented so that you understand better the point of the paragraph as well as how the paragraph relates to the thesis? When you offer explanation, you are, in a sense, taking a step back and examining-analyzing—the information presented and making sure readers understand how the information relates to the point of the paragraph and to the larger point of the essay. The revision offers language such as the “in addition to those accomplishments” and “also” in the sentence “In addition to those accomplishments, the USPS also provides nearly 600,000 jobs and has donated over 70 million dollars to breast cancer research” thereby creating the sense that the USPS already has many accomplishments and on top of those, the postal service also has other accomplishments. The language connects the new piece of information to other pieces of information which are all connected to the idea of proud accomplishments.

The revision also includes three full sentences of explanation after the last piece of information—all of which work to connect that information to the point of the paragraph and to what the essay as a whole is trying to communicate. Listen:

The first version of the paragraph stops after the sentence “The United States Postal Service provides nearly 600.000 jobs and has donated over $70 million to breast cancer research.” That’s it—a paragraph floating in an ocean, insignificant and hardly noticed. But listen to what happens when the writer explains the importance of the information:

In addition to those accomplishments, the United States Postal Service also provides nearly 600,000 jobs and has donated over $70 million to breast cancer research through its breast cancer awareness stamps (USPS, 2010). The United States Postal Service has been an important institution and provided valuable services for over two hundred and thirty years—all at no cost to U.S. taxpayers. While the post office needs to redefine how it conducts business in the electronic age, eliminating the service is not the answer. In fact, there is no reason the postal service cannot, once again, change with the times and continue to add to its rich history and accomplishments.

Do hear the difference? Do you understand the importance not just making a point and illustrating a point but also—perhaps most importantly—explaining the importance of that information through commentary and analysis? The revised paragraph, which is only three sentences and maybe five words longer than the original is better by leaps and bounds.

When you are working on an essay and developing body paragraphs, keep PIE in mind—the idea that body paragraphs need to make a point, information presented needs to illustrate that point, and commentary and analysis is essential to explain the significance of the point. Indeed, PIE is an effective method for developing healthy paragraphs. Thanks for listening, everyone.

Happy writing!

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This section describes one of the most common types of assignment at university: the essay. Essays often involve constructing a debate around a particular issue, comparing two or more related ideas, or persuading readers of a particular argument or position.

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The Interplay of Structure and Emotion in Bach’s Cantatas and Fugues

This essay about Johann Sebastian Bach highlights his ability to blend intellectual depth with emotional expression in his cantatas and fugues. Bach’s use of structure, such as the da capo form in arias and intricate counterpoint in fugues, enhances the emotional impact of his music. His techniques, including word painting and varied harmonic progressions, demonstrate how form and expressiveness can coexist harmoniously, making his works timeless masterpieces.

How it works

Johann Sebastian Bach stands as a monumental figure in Western music, celebrated for his unparalleled ability to merge intellectual depth with profound emotional expression. His cantatas and fugues exemplify the masterful interplay between structure and emotion, revealing how formal musical techniques can be harnessed to convey a spectrum of human feelings. This intricate balance is not only a testament to Bach’s genius but also offers valuable insights into the broader relationship between form and expressiveness in music.

Bach’s cantatas form a substantial part of his body of work, created primarily for the Lutheran church service.

Rich in theological significance, these compositions showcase a remarkable variety of musical forms. Far from being merely functional, Bach’s cantatas are infused with deep emotional content that enhances the spiritual messages of the texts. Typically, the structure of these cantatas includes a series of movements such as arias, recitatives, choruses, and chorales, each serving a distinct structural and expressive purpose.

In the arias, Bach frequently employs the da capo form (ABA), offering a clear structural framework within which he can explore emotional contrasts. The A section introduces a musical idea that is often expressive and lyrical, while the B section brings in a contrasting mood or key. The return of the A section not only reinforces the initial idea but also allows the performer to add ornamentation and personal expression, thereby deepening the emotional impact. This approach creates a pleasing sense of balance and symmetry for the listener, while also enabling a dynamic interplay of emotions.

Recitatives in Bach’s cantatas are generally more free-form, designed to mirror the natural rhythms of speech. These serve to advance the narrative or reflect on the text, often with minimal accompaniment. This loose structure contrasts sharply with the more formal arias and choruses, highlighting the dramatic and emotional shifts in the text. The flexibility of recitative allows for a direct and intimate expression of emotion, drawing the listener into the narrative.

Choruses in Bach’s cantatas often act as the emotional and structural pillars of the work. They are meticulously crafted, featuring complex counterpoint and rich harmonies that convey the collective emotional weight of the text. For example, the opening chorus of “Wachet auf, ruft uns die Stimme” (BWV 140) is a masterclass in combining structure and emotion. The chorale melody, set against a lively orchestral accompaniment, evokes a sense of anticipation and joy, reflecting the text’s call to wakefulness and spiritual readiness. The interplay of voices and instruments often mirrors theological themes of unity and community, enhancing the emotional resonance of the music.

Fugues, another significant aspect of Bach’s oeuvre, represent the pinnacle of contrapuntal complexity and structural rigor. A fugue typically involves the systematic development of a single musical theme (the subject) through a series of entries in different voices, interspersed with episodes that explore related musical ideas. This formal structure demands a high degree of intellectual engagement from the listener, as the theme is presented, transformed, and developed in various ways.

Despite their structural complexity, Bach’s fugues are imbued with profound emotional depth, emerging from the interplay of the voices and the harmonic tension created by the counterpoint. The subject of the fugue often carries a particular emotional character, which is explored and expanded throughout the piece. For instance, the “Little” Fugue in G minor (BWV 578) begins with a haunting and somewhat somber subject that develops through a series of entries, increasing in intensity and complexity. The tension and release inherent in the contrapuntal interplay create a powerful emotional journey for the listener.

A striking example of the interplay between structure and emotion in Bach’s fugues is the “Art of Fugue” (BWV 1080). This collection of fugues and canons is a comprehensive exploration of contrapuntal techniques, but it is also deeply expressive. Each fugue and canon in the collection has its own distinct character and emotional profile, ranging from the contemplative to the jubilant. The intricate counterpoint serves not only to demonstrate Bach’s technical mastery but also to convey a wide range of human emotions.

In both his cantatas and fugues, Bach frequently employs a technique known as word painting, where the music reflects the literal meaning of the text. This technique enhances the emotional impact by creating a direct connection between the musical and verbal elements. For example, in the cantata “Christ lag in Todesbanden” (BWV 4), the descending musical lines in the opening chorus vividly depict the fall into death described in the text. Similarly, in his fugues, the subject might be manipulated to reflect an emotional or narrative idea, such as a rising motif to suggest aspiration or a chromatic descent to imply sorrow.

Bach’s use of harmony is another crucial element in the interplay of structure and emotion. His harmonic language is rich and varied, capable of conveying a wide spectrum of emotions. The careful progression of chords creates a sense of direction and emotional development within the formal structure of the music. In the cantatas, the harmonization of the chorales is particularly striking, with unexpected modulations and dissonances that heighten the emotional impact of the text. In the fugues, the harmonic underpinning of the contrapuntal lines provides a sense of coherence and emotional depth.

Moreover, Bach’s attention to detail in instrumentation and orchestration contributes significantly to the emotional expressiveness of his cantatas and fugues. He often uses specific instruments to enhance the emotional character of a movement. For example, the use of oboes to convey pastoral serenity, trumpets and drums to signify triumph and glory, or strings to express melancholy and introspection. The choice of timbre and texture in Bach’s music is always purposeful, aimed at reinforcing the emotional and structural aspects of the piece.

In conclusion, the interplay of structure and emotion in Bach’s cantatas and fugues is a testament to his unparalleled ability to integrate intellectual rigor with profound expressiveness. His use of formal musical techniques—such as counterpoint, harmonic progression, and word painting—serves to enhance the emotional impact of his music, creating works that are both structurally intricate and deeply moving. Bach’s music demonstrates that structure and emotion are not opposing forces but can be harmoniously integrated to produce art of extraordinary depth and beauty. This balance between form and feeling is what makes Bach’s cantatas and fugues enduring masterpieces that continue to resonate with audiences today.

Cite this page

The Interplay of Structure and Emotion in Bach's Cantatas and Fugues. (2024, May 28). Retrieved from https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/

"The Interplay of Structure and Emotion in Bach's Cantatas and Fugues." PapersOwl.com , 28 May 2024, https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/

PapersOwl.com. (2024). The Interplay of Structure and Emotion in Bach's Cantatas and Fugues . [Online]. Available at: https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/ [Accessed: 30 May. 2024]

"The Interplay of Structure and Emotion in Bach's Cantatas and Fugues." PapersOwl.com, May 28, 2024. Accessed May 30, 2024. https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/

"The Interplay of Structure and Emotion in Bach's Cantatas and Fugues," PapersOwl.com , 28-May-2024. [Online]. Available: https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/. [Accessed: 30-May-2024]

PapersOwl.com. (2024). The Interplay of Structure and Emotion in Bach's Cantatas and Fugues . [Online]. Available at: https://papersowl.com/examples/the-interplay-of-structure-and-emotion-in-bachs-cantatas-and-fugues/ [Accessed: 30-May-2024]

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