Essay Prompts
Dr. Whalen – Humanities-Literature 10
March 1, 2010
Requirements:
1. MLA format, including in-text citations. No works cited page is necessary.
2. Five pages, free of errors in grammar and spelling. Please submit a clean copy.
3. Grading criteria:
A. Imaginative, well-constructed introduction that includes a clear response to the prompt;
B. Text citations that are economical, judiciously chosen, smoothly embedded in your
writing, and function to effectively support the argument at hand;
C. Pleasing prose rhythm (more particularly, sentence fluency: variation in sentence
beginnings, lengths, and kinds of sentences). Your writing should flow smoothly. Read your
papers aloud, while you are writing and editing them. SEE BACK OF HANDOUT FOR
CRITERIA.
D. Prose that reflects mature understanding of issues and text at hand.
Paper due in the beginning of class, Thursday, March 10
Writing prompts. Choose one.
1. In the forward to our text, Pinsky writes: “Irony in the Inferno arises from the discrepancy
between the perspective of the pilgrim, which is much like ours, and that of the poet, who, by
journey’s end, claims to share God’s view. The distance that separates the traveler’s naivete from
the omniscience of the poet is the poem’s story: the transformation of the pilgrim into the poet,
whose work we read.” (xi) Choose four key episodes between Cantos One and Nine which
illustrate the irony about which Pinsky speaks, and discuss their importance to understanding the
development of Dante’s journey.
2. One of the more important themes of Inferno has to do with the perfect justice of God,
exemplified through the contrapassos we find in each of the Cantos. Too, some of the poem’s most
glorious (or at least memorable!) imagery constructs the sin and counter-suffering in each of the
circles of hell we’ve encountered so far. Choose three or four contrapassos, and show the suitability
of the imagery to the contrapasso. What images construct both sin and contrapasso? What role
does the imagery at hand play in helping us understand God’s (Dante’s) idea of Divine Justice?
3. In Dante in Love: The World’s Greatest Poem and How It Made History”, author Harriet Rubin
discusses how readers have actively encountered The Inferno over time. During Dante’s time,
Rubin notes that his works were used by readers “to turn loss into salvation”: “Texts were not
simply transmitters of information. They were not surfaces but depths one entered. Books were
concavities. One disappeared into words.” Here, Rubin notes Jorge Luis Borges’s suggestion that
it is best to read the Comedy as a child -- don’t worry endlessly about infinite meanings, Borges
says. The reading metaphor here – the reader as child -- suggests that we enter Inferno as a child
would a Harry Potter book (which is to say, by becoming Harry Potter). What self-referential
metaphor have you developed as a reader, or do you think is optimal to develop as a reader of
Inferno? Choose three key passages in the poem and show what sort of interpretation is possible,
based on your understanding of yourself as a particular kind of reader of this particular book.
A
The writing has an effective flow and rhythm. Sentences show a high degree of craftsmanship, with
consistently strong and varied structure that makes expressive oral reading easy and enjoyable. The writing is
characterized by:
 a natural, fluent sound; it glides along with one sentence flowing effortlessly into the next.
 extensive variation in sentence structure, length, and beginnings that add interest to the text.
 sentence structure that enhances meaning by drawing attention to key ideas or reinforcing relationships
among ideas.
 varied sentence patterns that create an effective combination of power and grace.
 strong control over sentence structure; fragments, if used at all, work well.
 stylistic control; dialogue, if used, sounds natural.
B
The writing has an easy flow and rhythm. Sentences are carefully crafted, with strong and varied structure that
makes expressive oral reading easy and enjoyable. The writing is characterized by:
 a natural, fluent sound; it glides along with one sentence flowing into the next.
 variation in sentence structure, length, and beginnings that add interest to the text;
 sentence structure that enhances meaning;
 control over sentence structure; fragments, if used at all, work well;
 stylistic control; dialogue, if used sounds natural.
C
The writing flows; however, connections between phrases or sentences may be less than fluid. Sentence
patterns are somewhat varied, contributing to ease in oral reading. The writing is characterized by:
 A natural sound; the reader can move easily through the piece, although it may lack a certain rhythm
and grace;
 Some repeated patterns of sentence structure, length, and beginnings that may detract somewhat from
overall impact;
 Strong control over simple sentence structures, but variable control over more complex sentences;
fragments, if present, are usually effective
D
F
The writing tends to be mechanical rather than fluid. Occasional awkward constructions may force the reader to
slow down or reread. The writing is characterized by:
 Intermittent oral quality;
 Some variety in sentence structure, length, and beginnings, although the writer falls into repetitive
patterns;
 Good control over simple sentence structures, but little control over more complex sentences;
fragments, if present, may not be effective;
 Sentences which, although functional, may lack energy;
 Lapses in stylistic control
The writing tends to be choppy or rambling; it may be difficult to follow or read allowed. Awkward
constructions may force the reader to slow down, or reread. The most difficult papers may have sentences that
are incomplete, rambling, or very awkward.
 Significant portions of text that are difficult to follow or read aloud;
 Monotonous sentence patterns;
 Significant number of awkward, choppy, or rambling constructions;
 Perhaps, confusing word order that is often jarring and irregular;
 Perhaps, sentence structure that frequently obscures meaning
SENTENCE FLUENCY. Adapted from Oregon, Arizona, and Minnesota Depts. of Education