“Discussion + Opinion” Type Questions

Structure Follows the Prompt:

Introduction:

intro + merge – Paraphrases the debate
thesis – states the essay’s purpose.

Body 1: Discusses View 1 (funding the arts) with examples.

Body 2: Discusses View 2 (prioritizing public services) with counterpoints.

Conclusion: Offers a balanced opinion (“a modest percentage for arts, bulk for services”).

Essay

Introduction

The allocation of public funds to the arts versus essential services is a perennial debate. While some contend that arts subsidies are vital for cultural preservation, others prioritize healthcare and infrastructure. This essay will examine both perspectives before concluding that a balanced approach is optimal.

Body Paragraph 1 (Support for Arts Funding)

Proponents of arts funding argue that cultural institutions enrich society immeasurably. Theatres, museums, and music festivals not only safeguard heritage but also stimulate tourism and local economies. For instance, the West End in London generates billions annually, proving that arts investments yield financial returns. Furthermore, the arts foster creativity and critical thinking—skills crucial in an innovation-driven world. Without state support, many cultural gems might vanish, leaving future generations impoverished.

Body Paragraph 2 (Case for Public Services)

Conversely, critics assert that taxpayer money should address urgent societal needs. In nations with underfunded hospitals or crumbling roads, lavish opera houses seem indulgent. A single hospital’s budget could save countless lives, whereas a symphony orchestra benefits a privileged few. Prioritizing public services also promotes equity; free healthcare and education uplift marginalized communities far more than subsidized ballet tickets.

Conclusion

In conclusion, while the arts elevate national identity and economy, essential services are non-negotiable for societal welfare. Governments should strike a balance—perhaps by earmarking a modest percentage of budgets for the arts while channeling the bulk toward healthcare and education. This compromise ensures cultural vibrancy without compromising public well-being.

(Word count: 250)

Juxtaposition = Placing two things side by side (physically or in text).

Oxymoron = A phrase that combines contradictory terms (e.g., “deafening silence,” “bittersweet”).

Why Use Juxtaposition?

It grabs attention, deepens meaning, and makes the audience think differently about the subjects being compared.

Would you like examples from a specific book, movie, or artwork?

1. “The Monkey’s Paw” by W.W. Jacobs

Juxtaposition: Wishes vs. Consequences

The Whites jokingly wish for £200, only to receive it as compensation for their son’s gruesome death at work.

The cozy, domestic setting of their home contrasts with the horrifying knock at the door at the end.

Effect: The story highlights how desire and tragedy are unnervingly close—what seems like a blessing is actually a curse.

2. “The Lottery” by Shirley Jackson

Juxtaposition: Ordinary Village Life vs. Brutal Ritual

The story opens with a cheerful, sunny day—children playing, neighbors chatting—yet ends with a barbaric stoning.

The lottery is treated as a normal tradition, like a town picnic, making the violence even more shocking.

Effect: The contrast exposes how cruelty can hide beneath the surface of “civilized” society.

3. “The Little Things” (Assuming you mean the short story by Raymond Carver, later adapted into the film The Night Comes for Us)

Juxtaposition: Domestic Mundanity vs. Impending Violence

A couple’s ordinary conversation about chores and errands is interrupted by an intruder’s threat.

The title itself (“The Little Things”) contrasts with the life-or-death stakes of the situation.

Effect: The banality of daily life makes the sudden danger feel more jarring.

1. Ask the Key Question:

Direct Object (DO):

“Subject + Verb + What/Whom?”

If the infinitive answers this, it’s a direct object.

Example: “She loves to sing.”

“Loves what?” → “to sing” (Direct Object).

Adverbial Infinitive:

“Subject + Verb + Why/How/When/Where?”

If the infinitive answers this, it’s adverbial.

Example:
“She exercises to relax.”

“Exercises why?” → “to relax” (adverbial).

3. Try the “In Order To” Test:

If you can replace the infinitive with “in order to”, it’s adverbial:

“He studies to pass.” → “He studies “in order” to pass.” (Adverbial).

If not, it’s likely a direct object:

“She wants to sleep.” → ❌ “She wants “in order” to sleep.” (Makes no sense → Direct Object).

4. Examples to Compare:
Sentence Test Question Answer Function
“She is learning to swim.” “Learning what?” “to swim” Direct Object
“He is shouting to help.” “Shouting why?” “to help” Adverbial
“They hate to wait.” “Hate what?” “to wait” Direct Object
“She naps to recover.” “Naps why?” “to recover” Adverbial

“She wants [to travel the world].”

“Wants what?” → “to travel the world” (DO).

“They hate [to wake up early].”

“Hate what?” → “to wake up early” (DO).

“He attempted [to climb the mountain].”

“Attempted what?” → “to climb the mountain” (DO).

“I wish to buy a car”

“She kills to feed her anger”?

why does she kill? to feed her anger. (adverbial)

“She trains to become the best”

Step 1: Identify the Literary Device

Ask: What technique is the author using?
Example from “Greenleaf”:

Device: Situational Irony (when the opposite of what’s expected happens)

Evidence: Mrs. May honks the car horn to hurry Mr. Greenleaf, but it summons the bull that kills her.

Step 2: Explain the Device’s Basic Function

Ask: How does this device usually work in literature?
Example:

Situational irony surprises readers by subverting expectations. It often reveals deeper truths or themes.

Step 3: Analyze the Device in Context

Ask: How does the author use this device specifically in the text?
Example:

Textual Evidence:

Mrs. May honks “three sustained honks and two or three shorter ones” to assert control.

The horn, typically a safety tool, becomes a weapon of her arrogance.

Analysis:

O’Connor twists the horn’s purpose: it changes from a symbol of human authority to a divine “trumpet of judgment.”

Step 4: Connect to Themes

Ask: How does this device reinforce the story’s themes?
Example:

Theme: Divine justice vs. human pride.

Analysis:

The horn’s blare mirrors biblical judgments (e.g., Jericho’s trumpets).

Mrs. May’s attempt to control Greenleaf backfires, showing that God’s justice overrides human arrogance.

Step 5: Explore the Author’s Purpose

Ask: Why did the author choose this device?
Example:

O’Connor uses irony to:

Critique pride: Mrs. May’s hubris leads to her downfall.

Show grace through violence: Her death is a grotesque moment of revelation.

Step 6: Write a Polished Analysis

Combine all steps into a cohesive paragraph:

Example Analysis:

O’Connor employs situational irony to expose Mrs. May’s fatal arrogance. When she honks the car horn—“three sustained honks and two or three shorter ones”—she expects to hurry Mr. Greenleaf, asserting her superiority. Yet this ordinary act backfires spectacularly: the horn summons the bull that kills her, transforming a tool of control into a divine instrument of judgment. The irony lies in how O’Connor subverts the horn’s mundane purpose (safety) into a supernatural signal, mirroring biblical calls for reckoning (like Joshua’s trumpets at Jericho). This moment crystallizes O’Connor’s theme of violent grace: Mrs. May’s pride invites a punishment that, though brutal, forces her to confront her moral blindness. Here, irony becomes the vehicle for divine justice, proving that no human arrogance escapes judgment.

Key Tips for Strong Analysis:

Always cite evidence (quotes or specific plot points).

Avoid summary—focus on how and why the device matters.

Link to broader themes (e.g., justice, pride, redemption).

Consider the author’s style (e.g., O’Connor’s grotesque religious visions).

In a body paragraph of a prose analysis, you’re answering one focused aspect of how the author’s literary techniques create meaning or effect. Here’s the breakdown:

1. Core Question to Answer:
“How does a specific literary device or stylistic choice contribute to the text’s themes, tone, or emotional impact?”

2. Key Elements to Include:
A. Topic Sentence
Clearly state the device/technique (e.g., irony, symbolism, diction) and its purpose.

Example:

Carver uses situational irony in the title “The Little Things” to underscore how trivial conflicts escalate into tragedy.

B. Evidence
Quote or paraphrase the text (1–2 lines max).

Example:

The couple’s argument begins over a suitcase but culminates in a tug-of-war: “He felt the baby slipping out of his hands and he pulled back very hard.”

C. Analysis
Explain how the device works in the quote and why it matters.

Example:

The verb “slipping” suggests the child’s literal and metaphorical loss, while “pulled back very hard” reveals the parents’ violent desperation. By later calling the baby an “issue,” Carver strips the scene of empathy, showing how pride dehumanizes.

D. Connection to Theme/Effect
Link the device to the broader message or author’s purpose.

Example:

This irony mirrors Carver’s warning: minor conflicts, fueled by ego, destroy what matters most.

3. Avoid These Pitfalls:
❌ Summarizing plot (focus on how the story is told, not what happens).
❌ Vague claims (e.g., “This shows the story is sad”—explain how the language creates sadness).
❌ Listing devices without analysis (e.g., “Carver uses symbolism and irony” → How? Why?).

4. Checklist for Success:
✔ One device per paragraph (e.g., dedicate one paragraph to irony, another to symbolism).
✔ Textual evidence + page/line numbers (if applicable).
✔ Author’s name (e.g., “Carver implies…”) to maintain focus on craft.

Example Thesis-to-Body Flow:
Thesis: Carver’s irony and symbolism reveal how pride corrupts love.

Body Paragraph: Analyzes how the title’s irony (“The Little Things”) contrasts with the horrific ending to expose this corruption.

Pro Tip: Imagine you’re explaining why the author made a specific choice and how it impacts the reader’s understanding. This keeps your analysis sharp and original.

Would you like to practice with another passage?

A prose analysis is a close examination of how an author’s language, style, and literary devices contribute to the meaning and effect of a prose passage (such as a short story, novel excerpt, or essay). Unlike a summary, which retells events,

a prose analysis focuses on how the writing works and why the author makes specific stylistic choices.

Here’s a standard structure for a prose analysis:

1. Introduction
Briefly introduce the text (title, author, and context if necessary).

State the focus of your analysis (e.g., theme, tone, character development, or specific literary devices).

Thesis statement – A clear argument about how the prose functions and what effect it creates.

Example:
In Raymond Carver’s “The Little Things,” the minimalist prose and use of symbolism amplify the story’s tension, illustrating how trivial conflicts escalate into irreversible tragedy.

2. Body Paragraphs (Multiple, if needed)
Each paragraph should focus on one key literary device or stylistic choice and explain its effect. A strong analysis follows this pattern:

Topic Sentence – Introduces the literary device or technique being analyzed.

Evidence – A direct quote or paraphrased example from the text.

Analysis – Explanation of how the device works and why it matters.

Connection to Theme/Effect – Ties the analysis back to the thesis.

Example (from Carver’s story):
Carver’s use of dialogue without attribution (e.g., “Give me the baby.” “No.”) strips the argument down to its rawest form, heightening the tension. The lack of “he said/she said” tags forces the reader to focus solely on the escalating conflict, mirroring the characters’ inability to communicate beyond hostility.

3. Conclusion
Summarize key points without repetition.

Reinforce the thesis in light of the evidence.

Consider broader implications (e.g., why the author’s style matters, how it affects the reader, or how it relates to other works).

Example:
Through sparse dialogue and symbolic imagery, Carver transforms a mundane domestic dispute into a harrowing commentary on human stubbornness. The story’s power lies in what is left unsaid, forcing readers to confront the devastating consequences of unresolved conflict.

ref – https://medium.com/@faisal-fida/the-complete-list-of-pos-tags-in-nltk-with-examples-eb0485f04321

1. CC: Coordinating conjunction (e.g. “and”, “or”, “but”)
“We can go to the park or stay at home.”
“She has a dog and a cat.”

2. CD: Cardinal number (e.g. “one”, “two”, “three”)

“I have three siblings.”
“The temperature is 35 degrees Celsius.”
3. DT: Determiner (e.g. “the”, “a”, “an”)

“The cat is sleeping.”
“A dog barked outside.”
4. EX: Existential there (e.g. “there”)

“There are many books on the shelf.”
“Is there any sugar left?”
5. FW: Foreign word (e.g. “bonjour”, “guten tag”)

“I took a French class in college.”
“Ich spreche kein Deutsch.”
6. IN: Preposition or subordinating conjunction (e.g. “in”, “on”, “before”)

“She is hiding under the table.”
“I’m going to the store after work.”
7. JJ: Adjective (e.g. “big”, “small”, “happy”)

“He has a big house.”
“She is a happy person.”
8. JJR: Adjective, comparative (e.g. “bigger”, “smaller”, “happier”)

“His house is bigger than hers.”
“I’m feeling happier today.”
9. JJS: Adjective, superlative (e.g. “biggest”, “smallest”, “happiest”)

“His house is the biggest on the block.”
“She is the happiest person I know.”
10. LS: List item marker (e.g. “1”, “2”, “3”)

“Here is a list of things to do: 1) Go to the store, 2) Clean the house, 3) Walk the dog.”
“The top three winners are: 1) John, 2) Mary, 3) Tom.”
11. MD: Modal (e.g. “can”, “will”, “should”)

“I can speak Spanish.”
“We should go to the museum.”
12. NN: Noun, singular or mass (e.g. “dog”, “book”, “desk”)

“I have a dog.”
“I’m reading a book.”
13. NNS: Noun, plural (e.g. “dogs”, “books”, “desks”)

“I have two dogs.”
“There are many books on the shelf.”
14. NNP: Proper noun, singular (e.g. “John”, “Paris”, “Monday”)

“John is coming over.”
“I’m going to Paris next month.”
15. NNPS: Proper noun, plural (e.g. “Johns”, “Parises”, “Mondays”)

“The Johns family is coming over.”
“Mondays are the first days of week”
16. PDT: Predeterminer (e.g. “all”, “both”)

“All the books are on the shelf.”
“She has both cats and dogs.”
17. POS: Possessive ending (e.g. “‘s”)

“The cat’s toy is under the bed.”
“His friend’s house is big.”
18. PRP: Personal pronoun (e.g. “I”, “you”, “he”)

“I am going to the store.”
“You are the best.”
19. PRP$: Possessive pronoun (e.g. “mine”, “yours”, “his”)

“The toy is mine.”
“The house is yours.”
20. RB: Adverb (e.g. “quickly”, “slowly”, “happily”)

“He runs quickly.”
“She sings happily.”
21. RBR: Adverb, comparative (e.g. “quicker”, “slower”, “happier”)

“He runs quicker than his sister.”
“She sings happier than before.”
22. RBS: Adverb, superlative (e.g. “quickest”, “slowest”, “happiest”)

“He is the quickest runner in the race.”
“She is the happiest person I know.”
23. RP: Particle (e.g. “up”, “off”, “out”)

“Turn the lights off.”
“She took her jacket off.”
24. SYM: Symbol (e.g. “$”, “%”, “&”)

“I have $10 in my wallet.”
“The sale is 20% off.”
25. TO: to (e.g. “to”)

“I’m going to the store.”
“I have to go to work.”
26. UH: Interjection (e.g. “oh”, “um”, “ah”)

“Oh no, I forgot my keys.”
“Um, I’m not sure.”
27. VB: Verb, base form (e.g. “run”, “be”, “have”)

“I run every morning.”
“She is happy.”
28. VBD: Verb, past tense (e.g. “ran”, “was”, “had”)

“I ran to the store.”
“She was happy.”
29. VBG: Verb, gerund or present participle (e.g. “running”, “being”,)

“I’m running late.”
“She’s always been happy.”
30. VBN: Verb, past participle (e.g. “run”, “been”, “had”)

“The car has been washed.”
“The clothes have been dried.”
31. VBP: Verb, non-3rd person singular present (e.g. “run”, “be”, “have”)

“I run every morning.”
“She is happy.”
32. VBZ: Verb, 3rd person singular present (e.g. “runs”, “is”, “has”)

“He runs every morning.”
“She has a dog.”
33. WDT: Wh-determiner (e.g. “which”, “that”)

“Which book do you want to read?”
“That is the correct answer.”
34. WP: Wh-pronoun (e.g. “who”, “what”)

“Who is coming to the party?”
“What is your name?”
35. WP$: Possessive wh-pronoun (e.g. “whose”)

“Whose car is this?”
“Whose turn is it?”
36. WRB: Wh-adverb (e.g. “where”, “when”)

“Where are you going?”
“When is the party?”

Performing a prose analysis means examining how an author uses language and style in non-poetic writing (like novels, short stories, essays, etc.) to create meaning, effect, and convey their message. It’s about looking beneath the surface of the plot or content to understand the author’s craft.

In other words, it delves into the craft of the writing itself.

Key elements examined include:

Diction: Word choice (why this word and not another?).

Syntax: Sentence structure (short/long sentences, complexity, order of words).

Imagery: Language appealing to the senses.

Figurative Language: Metaphors, similes, personification, etc.

Tone: The author’s attitude towards the subject.

Narrative Voice: The perspective and style of the narrator.

Rhythm and Sound: (Though less central than in poetry, still relevant).

The goal is to understand how these specific linguistic and stylistic choices create

• meaning
• evoke emotion
• contribute to the overall effect

Here is a step-by-step guide to help you conduct a prose analysis:

Step 1: Read for Understanding and Initial Impressions

First Read: Read the text through once to understand the basic plot, characters, setting, and main ideas. Don’t worry too much about analysis yet.

Identify Key Passages/Moments: On a second read, start highlighting or noting passages that seem particularly important, striking, confusing, or where the writing style stands out.

Note Initial Reactions: What emotions does the text evoke? What questions do you have? What do you notice about the author’s voice or tone?

Step 2: Identify the Core Subject and Theme

Subject: What is the text literally about? (e.g., a family fighting over a magical object, a man living in a totalitarian society).

Theme: What are the underlying messages or ideas the author is exploring? (e.g., the dangers of greed, the nature of power, the importance of truth).

Step 3: Focus on Specific Prose Elements (The “How”)

This is the core of prose analysis. Go back to the text and look closely at the author’s specific choices in language and style. Consider these elements:

Diction (Word Choice):

What specific words does the author use? Are they simple or complex? Formal or informal? Positive or negative?

Are there recurring words or types of words?

What is the connotation (implied meaning) of the words, not just the denotation (literal meaning)?

Syntax (Sentence Structure):

Are sentences long or short? Simple or complex?

Does the author use varied sentence structures, or are they repetitive?

How is punctuation used?

Does the sentence structure create a particular rhythm or pace? (e.g., short sentences for tension, long sentences for description).

Imagery:

What sensory details does the author use (sight, sound, smell, taste, touch)?

How does the imagery contribute to the mood, atmosphere, or understanding of characters/setting?

Are there recurring types of imagery?

Figurative Language:

Does the author use metaphors, similes, personification, hyperbole, etc.?

What is the effect of this figurative language?

Your writing should answer how it helps the reader understand abstract ideas or create vivid comparisons?

Tone:

What is the author’s attitude towards the subject, characters, or reader? (e.g., serious, humorous, sarcastic, detached, critical).

How is the tone created through diction, syntax, and imagery?

Narrative Voice/Point of View:

Who is telling the story? (First person “I”, third person “he/she/it/they”).

Is the narrator omniscient (all-knowing), limited (knows one character’s thoughts), or objective (reports only what is seen/heard)?

How does the narrator’s voice or perspective influence what the reader knows and how they feel about the story?

Symbolism:

Are there objects, people, or events that represent something larger than themselves?

How does the author use language to imbue these elements with symbolic meaning?

Step 4: Analyze the Effect of the Prose Elements

This is where you move beyond just identifying devices to explaining their purpose. For each element you identify in Step 3, ask yourself:

Why does the author use this specific word/sentence structure/image here?

What effect does it have on the reader?

How does it contribute to the meaning, theme, mood, or character development?

How does this choice make the writing effective or powerful?

Step 5: Formulate a Thesis Statement

Based on your observations in Steps 3 and 4, develop a clear, arguable statement about how the author’s prose style contributes to the text’s meaning or effect.

Your thesis should connect specific prose techniques to a larger interpretation of the text (e.g., “Carver’s minimalist diction and focus on action create a sense of chilling detachment that highlights the brutal reality of the domestic conflict”).

Step 6: Structure Your Analysis (Outline)

Plan your essay or analysis. Typically, you’ll have:

An introduction with your thesis statement.

Body paragraphs, each focusing on a specific prose element or a set of related elements, showing how they work and what effect they have. Use textual evidence (quotes!) to support every point.

A conclusion that summarizes your main points and reiterates your thesis in new words.

Step 7: Write and Revise

Write your analysis, ensuring smooth transitions between ideas.

Use specific textual evidence (quotes) and explain how that evidence supports your analytical claims.

Explain the “why” – don’t just point out a device; explain its function and effect.

Revise for clarity, coherence, grammar, spelling, and punctuation. Ensure your analysis directly supports your thesis.

Difference Between Prose Analysis and Poem Analysis
While both involve analyzing an author’s use of language, the key difference lies in the primary focus and the specific set of devices most relevant to each form.

Prose Analysis:

Focus: How language and style contribute to meaning, character, plot, setting, and theme in non-poetic forms (sentences, paragraphs, overall narrative structure).

Key Devices: Diction, Syntax, Imagery, Figurative Language, Tone, Narrative Voice/Point of View, Symbolism, Structure (of paragraphs, chapters, overall narrative).

Emphasis: Often on the flow of sentences, the development of ideas over paragraphs, the narrator’s perspective, and the use of language to build a narrative world and explore complex themes through story and character.

Poem Analysis:

Focus: How language, sound, rhythm, and structure work together to create meaning, evoke emotion, and convey ideas in a poem.

Key Devices: Diction, Imagery, Figurative Language, Tone, Symbolism (all shared with prose, but often used more intensely or concisely in poetry), PLUS:

Sound Devices: Alliteration, assonance, consonance, rhyme, rhythm, meter, onomatopoeia.

Structure: Stanza form, line breaks, enjambment, caesura, form (sonnet, haiku, free verse, etc.).

Emphasis: Often on the musicality of language, the significance of line breaks and stanza divisions, the compression of meaning, and how sound and structure contribute to the poem’s emotional and intellectual impact.

In Summary:

Think of it this way: Prose analysis focuses on the tools used to build narratives and arguments using standard sentence and paragraph structures. Poem analysis focuses on the tools used to create concentrated meaning and emotional effect through the careful arrangement of words, sounds, and lines, often deviating from standard grammatical structures for artistic effect. While there’s overlap in devices like imagery and metaphor, the unique elements of rhythm, rhyme, meter, and line/stanza structure are central to poem analysis, while narrative voice, syntax variation across paragraphs, and the relationship between language and plot/character development are more central to prose analysis.

Okay, let’s define those three types of third-person narration:

Third-Person Omniscient:

The narrator is all-knowing.
They know the thoughts, feelings, motivations, pasts, and futures of all characters in the story.  
The narrator can move freely between different characters’ perspectives and provide information that no single character would know.  
Third-Person Limited:

The narrator’s knowledge is limited to the thoughts, feelings, and experiences of one character (or occasionally a small group of characters).  
The reader only sees the world through that character’s eyes and mind. They don’t know what other characters are thinking unless it’s revealed through dialogue or action.  
Third-Person Objective:

The narrator is like a camera or a fly on the wall.
They report only what can be seen and heard – actions, dialogue, external descriptions.  
The narrator does NOT reveal the thoughts, feelings, or internal states of any character. The reader must infer these based on what the characters say and do.
Which one is present in “The Monkey’s Paw”?

“The Monkey’s Paw” primarily uses Third-Person Limited narration, focused mainly on Mr. White.  

We get insights into Mr. White’s thoughts and feelings (his initial interest in the paw despite warnings, his nervousness about the wish, his dawning horror, his panic at the door, his final desperate wish).
While the narrator describes the actions and dialogue of other characters (Mrs. White, Herbert, Sergeant-Major Morris), we do not gain access to their inner thoughts and feelings in the same direct way we do for Mr. White. We see Mrs. White’s grief and desperation through her actions and words, but we aren’t privy to her internal monologue like we are for Mr. White at key moments.
Some might argue for a brief lean towards objective or a very restricted omniscient at times when describing the setting or external events without linking them directly to Mr. White’s perception, but the predominant point of view that grants us access to a character’s internal state is limited to Mr. White.

“As a powerful symbol, the monkey’s paw, with its potential to satisfy human desire, reveals a tragic aspect of human nature: the willingness to pursue a ‘little bit more’ even at the risk of losing something much closer and dear.”

Grade: For a senior high school level essay, I would rate this as a solid A.

Analysis:

Explicitly Identifies Symbolism: It clearly states from the beginning that the paw is being analyzed as a symbol.
Connects Symbol to Meaning: It effectively links the symbol (the paw) to what it reveals about a specific aspect of human nature.
Specific and Well-Defined Human Nature: The description of the “tragic aspect of human nature” – the willingness to pursue ‘a little bit more’ at the risk of losing what’s dear – is precise, insightful, and directly relevant to the story’s events.
Strong Verbs: “Reveals” is an excellent analytical verb.
Smooth Flow: The sentence structure flows well and clearly presents the main idea of the paragraph.
Aligns with Thesis: It perfectly supports a thesis focused on the paw’s symbolism and how it illustrates a flaw in human nature leading to consequences.
This topic sentence is sophisticated, clear, and effectively sets up a paragraph that will analyze how the monkey’s paw, as a symbol, demonstrates this specific, tragic human tendency. Great job refining it!