Mastering Commentary Writing: Essential Guidelines and Tips

Master the art of crafting a compelling commentary by following these guidelines. Understand the preliminary steps, main elements like introduction and main section, and crucial aspects to avoid in order to enhance your commentary writing skills. Dive into the realm of commentary writing with confidence!

• Commentary Writing
• Guidelines
• Tips
• French Department

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1. Commentary Writing Guidelines and FAQ Department of French

2. What is a commentary? A piece of prose writing based on the close reading of a short text such as: a poem a passage of dramatic or narrative fiction producing a detailed account of the passage / poem in question, in terms of context (where applicable), content, and form presenting your findings in an organised and clearly structured way

3. Preliminaries Read the passage / poem carefully Make sure you have understood all the vocabulary and that you have grasped the literal sense of all the sentences in the text If the text is an extract from a longer work, make sure you have read the entire work

4. Main Elements Introduction Main section Conclusion

5. Introduction Context If the passage is an extract rather than a complete work (like a poem) you must situate it briefly in relation to the text as a whole This part should be kept as concise as possible: it only serves to provide a context for your detailed analysis Give a brief summary of Content and Form Content State concisely whatthe passage is about: what happens in it and what changes occur as it develops Form State concisely how the text conveys its content: note briefly the most important structural aspects only (narrative techniques for prose, verse form for poetry).

6. Main section Essential part of the exercise Analyse in detail the relationship between form AND content Read interrogatively : ask what effects the text is creating and how it is creating them Structure your observations either by: proceeding line by line (typically if a poem), or identifying and concentrating on particularly important moments

7. Things to avoid Don t lose sight of the big picture : as well as looking at details, look out for the general structural features such as parallels, contrasts, repetition, variation, etc. Avoid gratuitous description: don t just give a catalogue of recognisable technical features (such as alliteration, metaphor, etc.) you must be able to identify the effects or meanings these technical features produce Avoid paraphrase, i.e. simply recounting the story without analysis (Remember: your reader knows the story, too; the reader is more interested in how the story is told, how it functions.) Refrain from giving personal impressions (unfiltered feelings, hasty opinions): your analysis must be firmly rooted in the words on the page Avoid generalisations about the work or the author

8. Conclusion Take a step back and summarise your findings: How themes or character or plot are developed and how formal techniques are deployed Where applicable, note which aspects of the extract s form and content link it to the text as a whole

9. Sample Prose Passage Camus, L tranger(1942) Aujourd hui maman est morte. Ou peut- tre hier, je ne sais pas. J ai re u un t l gramme de l asile: M re d c d e. Enterrement demain. Sentiments distingu s. Cela ne veut rien dire. C tait peut- tre hier. L asile de vieillards est Marengo, quatre-vingts kilom tres d Alger. Je prendrai l autobus deux heures et j arriverai dans l apr s-midi. Ainsi je pourrai veiller et je rentrerai demain soir. J ai demand deux jours de cong mon patron et il ne pouvait pas me les refuser avec une excuse pareille. Mais il n avait pas l air content. Je lui ai m me dit: Ce n est pas de ma faute. Il n a pas r pondu. J ai pens alors que je n aurais pas d lui dire cela. En somme, je n avais pas m excuser. C tait plut t lui de me pr senter ses condol ances. Mais il le fera sans doute demain apr s-midi, quand il me verra en deuil. Pour le moment, c est un peu comme si maman n tait pas morte. Apr s l enterrement, au contraire, ce sera une affaire class e et tout aura rev tu une allure plus officielle.

10. Context Where does the passage come from? What leads up to it? This is the opening passage of Camus s L tranger Having read the text might help you bring out certain elements of the passage in question. For instance: the relationship between emotion and lack thereof how the character is seen from the perspective of others (tension between the personal and the social) how this allows us to arrive at different interpretations of the title, etc.

11. Content What is this passage about? Basic content: The narrator receives a telegram from the old people s home where his mother was, stating that she has died What themes does the passage explore? Death and grief mort , deuil , condol ances , comme si maman n tait pas morte Time (here, put into question) aujourdhui ou peut- tre hier Self, perception, and others quand il me verra en deuil Possible link with the title, L tranger

12. Form How does the passage convey its meaning? Structure Two paragraphs Short paragraph stating mother s death: ask yourself why it is short (the paragraph itself is written in telegraphic style). What does this say about his emotional responses to the death of a close relative? (personal dimension) Long paragraph relating failed conversation with boss: ask yourself why this paragraph is longer. What does this say about his perception of himself in his relationship with others? (social dimension) Is there a change between them? (progression? status quo?) maman est morte comme si maman n tait pas morte

13. Form (contd) Narrative form Narrator: Who is telling the story? Je What is the status of this first-person narrator? What generic question does its use raise? Is he a reliable narrator? Is his perspective omniscient or limited? Narrative techniques: How is the narrator telling the story? Presence of direct speech and indirect (reported) speech and first-person narration Impersonal telegram: M re d c d e. Enterrement demain leads to little or no reaction Cela ne veut rien dire Personal direct and indirect speech: Je lui ai m me dit: Ce n est pas de ma faute. produces no dialogue, lack of communication: Il n a pas r pondu First-person narration: J ai pens alors que je n aurais pas d lui dire cela questions the limits of communication

14. Form (contd) Language and style Short, simple sentences, lack of subordinate clauses addition, accumulation, lack of self-reflection possible reaction to shock or indifference Accessible vocabulary: maman est morte Lack of description, neutral register Suggests lack of emotion, engagement, commitment: Ce sera une affaire class e Tone What attitude do the words of the speaker (narrator or speaking character) convey? Possible tension between content (death of mother) and form (lack of emotion) Facts: maman est morte Emotion and destabilization: je ne sais pas , cela ne veut rien dire , c tait peut- tre hier Focuses on the boss s reaction, rather than on his personal feelings

15. Sample Poem G rard de Nerval: Vers dor s (1854) Eh quoi! tout est sensible! Pythagore Homme, libre penseur! te crois-tu seul pensant Dans ce monde o la vie clate en toute chose? Des forces que tu tiens ta libert dispose, Mais de tous tes conseils l'univers est absent. Respecte dans la b te un esprit agissant: Chaque fleur est une me la Nature close; Un myst re d'amour dans le m tal repose; Tout est sensible ! Et tout sur ton tre est puissant. Crains dans le mur aveugle, un regard qui t' pie: A la mati re m me un verbe est attach ... Ne la fais pas servir quelque usage impie! obscur habite un Dieu cach ; Et comme un oeil naissant couvert par ses paupi res, Un pur esprit s'accro t sous l' corce des pierres! Souvent dans l' tre

16. Content and Form What is the poem about AND how is the poem s theme articulated? It is even more impossible to paraphrase a poem than a piece of prose because its meaning is a direct function not only of its words but also of its form and its range of stylistic devices But we can give a first overview of what the poem is about : the relationship between man, nature, and the universe Think not only about what the poem does but also what it is (e.g. a love-song, a lament, a celebration, an address, etc.). This can be mentioned in your introductory remarks Here, it is an address/appeal from the poet to mankind / the reader: Homme, libre penseur!

17. Content and Form (contd) Verse form and structure Sonnet (14 lines) divided into 4 stanzas traditional form addressing a traditional content (i.e. man s place in the universe) How does this influence the development of the ideas in the poem? homme seul tre pensant (l.1) to un pur esprit l corce des pierres (l.14) from man as a thinking being to nature as living spirit respecte (l.5) crains (l.9) from internal reflection to external apprehension Epigraph Pythagoras moral maxim Eh quoi! Tout est sensible! exclamations (appeal, call) Intertext: Tout est sensible! (l.8) repetition Meter and rhyme scheme (generally, in poetry, regularity is the norm. Irregularities will highlight points of interest) Rhymes can produce powerful connections or oppositions: pensant absent thought and absence (man s rationality is put into question) agissant puissant action and power (value the force and power of nature)

18. Content and Form (contd) Vocabulary Abstract ( penseur , force , libert ) and concrete ( fleur , b te , m tal , mur ) tension between reason and nature, mind and body, man and animals Title: poetics and world-view vers dor s : la mati re m me un verbe est attach (l.10) connection between the material (world) and the abstract form of language Word combinations and oppositions Penseur pensant vie chose (connects thought, life, and matter) b te esprit me Nature (endows nature with human characteristics) mur aveugle regard , paupi res pierres (connects inert matter with human vision) mati re verbe (content and form)

19. Content and Form (contd) Figures of speech / rhetorical devices: Personification: Chaque fleur est une me la Nature close (l.6): nature is alive and blooming le mur aveugle (l.9): matter (the wall) is a seeing being Simile: comme un oeil naissant couvert par ses paupi res / un pur esprit (l.13): comparison creates secrecy that calls for revelation Repetitions: Tout est sensible! epigraph and in quotation marks in the body of the poem: who is speaking? (through the poet s verse the thinker s language reveals the language of Nature)

20. Content and Form (contd) Imagery: Abstract notions are enclosed within concrete images to reveal the concreteness (materiality) of these notions and thus of the spiritual world fleur encloses the spiritual life of Nature m tal encloses myst re d amour mur encloses the regard mati re encloses the verbe paupi res encloses the oeil naissant pierre encloses the esprit

21. Notes Most of the information used above is taken from the JF Guidelines to Essay and Commentary Writing which is available on Blackboard under JF Texts 2013 2014 at: http://mymodule.tcd.ie Consult the Narrative and Poetry glossaries included in the JF Texts Critical Anthology HT to use the appropriate analytical vocabulary, also available on Blackboard You can find past exam papers at the following address: http://www.tcd.ie/Local/Exam_Papers/index.html