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To Be or Not to Be: Expert Analysis of Hamlet’s Soliloquy for Teens

June 7, 2023

From Calvin and Hobbes to Star Trek to The Simpsons, Hamlet’s soliloquy “To Be or Not To Be” is one of the most commonly cited lines of Shakespeare. But beyond the evocative first line, what is the underlying meaning and analysis? We will dive into an analysis of Hamlet’s soliloquy shortly but first some brief context.

Hamlet Summary – Putting “To Be or Not to Be” in context

The Tragedy of Hamlet, Prince of Denmark , more often referred to simply as Hamlet, is one of the English playwright William Shakespeare’s most well-known plays. It was written likely between 1599 and 1601. The play centers on Prince Hamlet, who is distraught with grief around his father’s murder. At the start of the play, Hamlet is confronted by his father’s ghost who informs him that the king was murdered by the king’s own brother (Hamlet’s uncle), Claudius, who has inherited the throne and married his widow (and Hamlet’s mother), Gertrude.

While at first singularly committed to avenging his father’s death, Hamlet’s contemplative nature causes him to oscillate between the desire to act immediately and melancholic reluctance, rageful vengeance, and existential despair. This context helps us understand the tense conundrums expounded upon in this soliloquy. However, as one can see from its widespread citation, one can also perform an analysis of Hamlet’s soliloquy “To Be or Not To Be” on its own.

What is a Soliloquy?

A soliloquy is a specific kind of monologue. It entails a single character speaking for a period of time while alone. In other words, the character is talking aloud to themselves. (For more examples and explanations of “soliloquy”, check out this link !). Now let’s walk through the text itself.

Hamlet’s Soliloquy – Meaning & Analysis

He begins with that well-known line:

“To be, or not to be: that is the question.” Already the stakes are high. Hamlet is essentially asking whether to choose life or death, being or not being, endurance or suicide. He goes on to say “Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune , /Or to take arms against a sea of troubles, / And by opposing end them?”

This elaborates and complicates on the binary of life or death set up in the first line. He wonders if would be more honorable to endure the suffering he faces due to his terrible and painful “fortune” or to end both his life and troubles in one fell swoop. Take note as well of the military figurative language peppered throughout his personal monologue, such as in words like “noble,” “take arms,” and “the slings and arrows.” As a prince embroiled in royal drama, his intimate woes are entangled with the national politics. Often, this means bloody war. Furthermore, the metaphors signal that there is a war within his own mind due to his agonizing situation. While desiring relief from life’s suffering, he is not totally resolved to die.

He turns to contemplate death, saying:

“To die: to sleep; / No more; and by a sleep to say we end / The heart-ache and the thousand natural shocks / That flesh is heir to, ’tis a consummation / Devoutly to be wish’d.”

He equates death to sleep, where suicide is framed not as violent but as a restful space that ends the “heart-ache” and pain he endures in wakeful life. The isolation of “No more” is emphatic and multifaceted. It signals both no more life and no more suffering. He also emphasizes the many forms of pain he desires respite from. There is the “thousand natural shocks” that, through the word natural, evoke an inevitable yet immense pain and then there is the “heart-ache” that appears more intentional and singular in the specific murder of his father. His father’s death and his princely position is further invoked through the word “heir,” given that he is the heir to his father’s crown. Death is a desired (“devoutly…wish’d”) ending (“consummation”) to these manifold sufferings.

“To Be or Not to Be” Soliloquy- Meaning & Analysis (Continued)

The poetics surface through the use of anaphora—repetition of a word or phrase at the start of a line. Hamlet repeats the lines “to die, to sleep,” emphasizing the equation between death and sleep, while also using repetition in a lullaby-like fashion through the songlike refrain. He proceeds to say:

“For in that sleep of death what dreams may come / When we have shuffled off this mortal coil, / Must give us pause: there’s the respect / That makes calamity of so long life.”

For the agonizing  Prince, life (“this mortal coil”) is equated to “calamity” while death is equated to dreaming. But this portion is not merely repetition of his previous aspiration for relief through death. He is beginning to hypothesize why people continue to live in spite of such agonies. In this section, he conjectures that people might continue to suffer “so long”  because they don’t know “what dreams may come” on the other side of life. In other words, people might rather suffer than risk the unknown.

He continues to contemplate why people endure suffering:

”For who would bear the whips and scorns of time, / The oppressor’s wrong, the proud man’s contumely, / The pangs of despised love, the law’s delay, / The insolence of office and the spurns / That patient merit of the unworthy takes, / When he himself might his quietus make / With a bare bodkin?”

He wonders how people can “bear” myriad injustices, ranging from the more general “whips and scorns of time” to oppressive acts to difficulty in love to the inaction of the law, and so on. Note again how the most personal matters (“the pangs of despised love”) enmesh with broader structural failings (such as “the law’s delay”). Hamlet sees pain and injustice at every scale—the personal, the political, the individual, and the societal. Hamlet views himself as the victim of legal and personal corruption. Of course, the two are heightened and enmeshed; his father’s murder by his uncle lives at the intersection of both.

It is an open-ended question for the reader/audience as to whether Hamlet is accurately assessing his life’s misfortunes or if he is exaggeratedly framing himself as a victim. Is Hamlet totally at the mercy of unjust forces or does he have agency to change his fortune? Can Hamlet access agency from within grief and despair?

Following this litany of life’s woes, Hamlet shifts from the desire to escape suffering to the fear of the unknown. He asks:

“who would fardels bear, / To grunt and sweat under a weary life, / But that the dread of something after death, / The undiscover’d country from whose bourn / No traveller returns, puzzles the will / And makes us rather bear those ills we have / Than fly to others that we know not of?” He essentially argues the no one would grunt through such burdens (“fardels”) if it were not for a fear of what happens after one dies. Death, while an unknown, is a final place from which “no traveller returns.”

The choice to live is framed as something that “puzzles the will,” derived from the pressures of “dread” at the uncertainty of what comes after. In some ways, he is arguing the choice to live arises from adherence to the age old maxim “better the devil you know than the devil you don’t.” This confounds typical narratives and philosophies around the will to live. Endurance of suffering is not framed as a valiant force of the will prevailing against larger forces. It is instead framed as submission to fear of the unknown. Even the word “fly” implies a sort of agency and freedom in death. The choice is not quite between life and death but between the known and the unknown.

Hamlet’s speech forces the listener to contend with existential questions by reversing typical narratives that yoke life to agency and death to passivity. Instead, he prods at the theory that to live is to be passive in the face of human fear of randomness and chance at the unknown of death. This does not mean that he is bluntly choosing death over life, but interrogating the terms of life and death from within a space of grief and betrayal. His grief and betrayal dismantles his trust in the justice of personal, political, and legal systems. This forces readers to ask whether he is expanding his personal misfortunes to a falsely universal level or if these experiences have opened his eyes to extant and entrenched corruption abound.

Following this string of rhetorical questions, he says: “Thus conscience does make cowards of us all; / And thus the native hue of resolution / Is sicklied o’er with the pale cast of thought, / And enterprises of great pith and moment / With this regard their currents turn awry, / And lose the name of action.” One could interpret the adage-like phrase “conscience does make cowards of us all” to mean that conscience’s fear of death turns all into cowards. However, another interpretation based on the previous rhetorical questions could expand to mean that it is rather the fear of the unknown that reduces everyone to cowards. By virtue of saying “all,” Hamlet includes himself in this category, thus revealing that he has chosen life. Nevertheless, he frames the choice of life as the cowardly choice.

The lack of virtue in his choice is underscored through the phrase “the native hue of resolution / is sicklied o’er with the pale cast of thought.” He depicts his resolution or thought process as sickly and pale. His thoughts render him weak. He loses “the name of action” and becomes swept up, indecisive, and ineffectual. Indeed, the form of the soliloquy mirrors its content. The soliloquy “To Be Or Not To Be” seems to frame the question increasingly inwards around Hamlet’s own desire to live or to die. He is solo and he is in many ways thinking mostly about his own decision to take his life or continue forth.

Yet the theme of life or death also extends toward his potential actions. Were he to kill Claudius, his uncle who he believes slaughtered his father, and Hamlet believes that life is cowardly suffering, then is it a gift to give death to his uncle? Even though it is fraught, Hamlet ultimately decides to continue to live and continue his plot to seek vengeance upon his uncle.

He then notices his conflictual love interest, “The fair Ophelia” approaching. This ends the soliloquy on the level of plot, because he is interrupted, and on the level of form, because he is no longer alone.

The speech forces us to question the idea of agency in life, within Hamlet’s perspective and beyond. Is it more cowardly to live or to die? Do we access agency more by living amidst suffering or by choosing death? This theme intersects with and diverges from what later would come to be termed Existentialism, a branch of philosophy associated most closely with 19th and 20th-century European thinkers. Existentialism typically contends with whether life itself has inherent meaning or is essentially random. Hamlet questions life’s value and significance, and ultimately assigns life neither meaning nor lack thereof but rather a position of passivity, struggle, and powerlessness. Hamlet views life as a known entity of struggle while it is death that contains randomness and chance.

Furthermore, by highlighting the way Hamlet uses metaphors of war to describe his internal turmoil and comingled grievances of the state and of the intimate, we can see how the speech is making an argument potentially about politics and individual power. If the state is corrupt, do individuals have the power to change that corruption? Or do individuals lack the power to do anything but suffer under endlessly corrupt systems? Would it be more willful to endure or to exit the system entirely? Hamlet’s role as a Prince collapses the personal and the political. He simply cannot separate his personal relationships (father-son, lovers, uncle-nephew, et cetera) from their political valences (king, prince, queen, et cetera).

Hamlet’s own ability to reason is thrown into question. In addition to his pretend madness, this speech thematizes how his utter grief and despair affect his ability to reason. The repetition of sleeping and dreaming connotes a relation between death and peacefulness, while also evoking the underlying surreality that penetrates waking life. Is Hamlet’s view of reality clear and rational? Or is his reality clouded by how the nightmarish circumstances have affected his ability to be reasonable? In this way, a central theme of the play/soliloquy is the struggle to determine what is truly real. What is reality, what is belief, what is madness, what is dream?

Hamlet’s soliloquy also makes us ask how we decipher fact from fiction, reality from performance. The play and this soliloquy in particular make use of the theatrical fictive frame. Hamlet has decided to act as if he has gone mad as part of his plan to exact revenge and extract information. Yet clearly his suicidal ideation makes us wonder if his grasp on reality has been actually shaken.

The central part of his plan involves staging a play that contains a similar murder plot as the one he believes Claudius commited against his father. Hamlet intends to observe Claudius’ reaction to determine his guilt. These elements of a ‘ play within a play ’ structure and the fictive character of Hamlet deciding to intentionally put in a ‘fake’ act within the already existing performance of an actor make us question what is reality and what is a performance. Is Hamlet’s character actually mad or is he acting mad?

To Be or Not to Be – Parting Thoughts

We, as readers, are put in the hot seat. In our analysis of Hamlet’s soliloquy “To Be Or Not To Be” we are reading the words for an actor pretending to play Hamlet pretending to go mad. Where do you, as a reader, stand? A rich exercise to go even deeper is to listen to several performances of the soliloquy after analyzing the text. This will allow you to see how different actors interpret “To Be Or Not To Be” through their performance!

Additional Resources

If you enjoyed this article, you may benefit from checking out other blogs in our High School Success section including:

• 30 Literary Devices High School Students Should Know
• 20 Rhetorical Devices High School Students Should Know
• Robert Frost’s The Road Not Taken – Analysis and Meaning
• Great Gatsby Themes & Analysis 
• High School Success

An experienced instructor, editor, and writer, Rebecca earned a BA in English from Columbia University and is presently pursuing a PhD at the CUNY Graduate Center in English. Her writing has been featured on The Millions , poets.org , The Poetry Project Newsletter , Nightboat Books blog, and more, and she received the Academy of American Poets Poetry Prize and Arthur E. Ford Prize for her poetry collections. 

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Analysis of Soliloquy ‘To Be or Not To Be’ in Hamlet

Hamlet's soul is weighed down by the moral dilemma of choosing between living and dying. He oscillates between being reckless and cautious with his conscience, the afterlife, and religion, to rationalize the thoughts in his mind in this epic soliloquy. This Penlighten article provides the analysis and meaning of 'To Be or Not To Be' in Hamlet.

Hamlet’s soul is weighed down by the moral dilemma of choosing between living and dying. He oscillates between being reckless and cautious with his conscience, the afterlife, and religion, to rationalize the thoughts in his mind in this epic soliloquy. This Penlighten article provides the analysis and meaning of ‘To Be or Not To Be’ in Hamlet.

While writing Hamlet, William Shakespeare is said to have been influenced by the philosophical moral essays of French essayist Michel de Montaigne. These essay’s inspired many passages in Hamlet including the famous soliloquy ‘To Be or Not To Be’.

A soliloquy is defined as ‘ The act or custom of displaying one’s innermost thoughts in solitude. ‘ Perhaps the most famous speech in English literature which is majorly governed by rationality and not frenetic emotion appears in William Shakespeare’s Hamlet, written in 1602. This widely interpreted and scholarly debated soliloquy appears in Hamlet’s Act III, scene i (58-90). Even though the character morally determines to choose life at the end, the whole speech is based on the subject of death.

The soliloquy is scripted in an iambic pentameter with a feminine ending, meaning every line has eleven syllables rather than ten, the last of which remains unaccented. This was a popular scripting style of Shakespeare, and he used it to similarly effect in Macbeth’s ‘Tomorrow’ speech.

Whether ’tis nobler in the mind to suffer Whether it’s more upright to suffer

The slings and arrows of outrageous fortune, The beleaguering’s of misfortune,

Or to take arms against a sea of troubles, Or to take up weapons against our troubles

And by opposing end them? To die: to sleep; And end them by agitating? To die: to sleep;

No more; and by a sleep to say we end That’s all; and in sleep to say that we end

The heart-ache and the thousand natural shocks The emotional disturbance and the many tensions

That flesh is heir to, ’tis a consummation That we are subject to, it’s an accomplishment

Devoutly to be wish’d. To die, to sleep; To be essayed thirstily. To die, to sleep;

To sleep: perchance to dream: ay, there’s the rub; To sleep: maybe to dream: oh, there’s the catch;

For in that sleep of death what dreams may come For in death’s sleep who knows what kind of dreams might come

When we have shuffled off this mortal coil, after the haphazardness and ruckus of life left behind us,

Must give us pause: there’s the respect Must make us stop and think: there’s the thing

That makes calamity of so long life; That makes our troubles last so long;

For who would bear the whips and scorns of time, For who would endure the affronts that time brings,

The oppressor’s wrong, the proud man’s contumely, The injustice of the oppressor, the proud man’s arrogant rudeness,

The insolence of office and the spurns The pains of unrequited love, the delays of the law,

That patient merit of the unworthy takes, The contempt of our victors, and the rejections that happen to those who don’t merit them

When he himself might his quietus make When he himself might end it all

With a bare bodkin? who would fardels bear, With a bare blade? Who would bear burdens

To grunt and sweat under a weary life, To grunt and sweat under a tedious life,

But that the dread of something after death, But that the dread of something after death,

The undiscover’d country from whose bourn The unknown region from which

No traveller returns, puzzles the will No traveler returns, confuses the mind

And makes us rather bear those ills we have And makes us prefer to endure the troubles we have

Than fly to others that we know not of? Rather than fly to new, vague troubles?

Thus conscience does make cowards of us all; In this way, thinking makes cowards of us all;

And thus the native hue of resolution And thus the natural color of decision-making

Is sicklied o’er with the pale cast of thought, Becomes sickly with the pale color of thought,

And enterprises of great pith and moment And endeavors of great might and grandness

With this regard their currents turn awry, At this point are derailed,

And lose the name of action.-Soft you now! And become inactive. Hearken now!

The fair Ophelia! Nymph, in thy orisons The lovely Ophelia! Girl, in your prayers

Hamlet is an anguished mortal, he keeps getting apparitions of his dead father who bequeaths his son to avenge his death. The kingdom of Denmark is now under the reign of Claudius―his father’s murderer and the newly-wedded husband of his widowed mother. Hamlet’s behavior has turned erratic over the sudden turn of events in his family, so much so that he scorns his beloved Ophelia. He is torn between the responsibilities and the need to get affection from the people he loves, but at the same time, a deep anger seethes inside him to take revenge. His actions are misjudged and termed as crazy, but it’s all the outcome of buried grief and depression. As fate intervenes, Hamlet gets the chance to play out his revenge without feeling the guilt or remorseful obligation for his mortal life.

The above soliloquy classically depicts the eternal struggle between choosing life or death, Shakespeare scripts this epic speech as an afterthought about his own reflections on the existence of death and afterlife. He enumerates some of the negative aspects of human existence in this soliloquy, we have all personally experienced “the proud man’s revilement,” “the stabs of scorned love,” and “the impudence of office”.

In the first playact, Hamlet anathematizes God for making suicide an immoral alternative. He states, “that this too solid flesh would melt, / Thaw, and resolve itself into a dew! / Or that the Everlasting had not fix’d / His canon ‘gainst self-slaughter! O God! God!” (I.ii.129-132). With this, it is clear that Hamlet is debating over the gains versus the losses of ending his own life, but also rationalizes that suicide is a crime in God’s and the Church’s eyes, and this could thus make his afterlife more forged than his present state of affairs. When Hamlet expresses the ailed question, “To be, or not to be: that is the question: / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles” (III.i.59-61), there is trivial uncertainty that he is supposing of death, he is still left without an answer of whether the “catapults and arrows of horrid fate” can be tolerated since life after death is so uncertain.

He questions the macrocosm of his death and thinks for a moment that it may be like eternal rest, which first seems to be acceptable until he reflects on what will happen to him when he enters into deep sleep. Just when his “sleep” suffice begins to charm him, he stops short and marvels on, “To sleep: perchance to dream:-ay there’s the rub; / For in that sleep of death what dreams may come” (III.i.68-69). The “dreams” that he dreads are the ails that the afterlife might bring, and since there is no easement from his earthly agonies through death, he is pressured to question death once again.

After graveling this complicated issue and inquiring about the cause of the great sleep, he then goes on to list many woes men are prone to in the bumpy course of life, which pushes him towards death once again. Hamlet poses the question for all depressed souls–is it nobler to exist miserably or to end one’s sorrows in a single stroke? He acknowledges that the response would be doubtlessly yes if death were like a dreamless slumber.

By the conclusion of this soliloquy, however, he finally understands, “But that dread of something after death, / The undiscover’d country, from whose bourn / No traveler returns-puzzles the will / And makes us rather bear those ills we have” (III.i.81-84). Although many chose life over death because of the inability to know the afterlife, the speech remains a cryptic reflection about the nature and rationalistic reasons for death. Lastly, Hamlet emerging from his instant of intense personal contemplation, truly implores the gentle and guiltless Ophelia to intercede for him.

This soliloquy ponders on some interesting aspects of death, life, and afterlife. Hamlet chose to surrender his life in the hands of fate and obtained the revenge that he was thirsting for. If you wish to get inspired by similar deep-meaning soliloquies, then some more examples of soliloquy by William Shakespeare is worth a read!

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Hamlet, Act III, Scene I [To be, or not to be]

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To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.—Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember'd.

More by this poet

My mistress' eyes are nothing like the sun (sonnet 130).

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight

Julius Caesar, Act III, Scene I [O, pardon me, thou bleeding piece of earth]

Antony speaks over Caesar's body

The Merchant of Venice, Act IV, Scene I [The quality of mercy is not strained]

The quality of mercy is not strained; It droppeth as the gentle rain from heaven Upon the place beneath. It is twice blest; It blesseth him that gives and him that takes: 'T is mightiest in the mightiest; it becomes The throned monarch better than his crown: His sceptre shows the force of temporal power,

Hamlet, Act I, Scene I [Some say that ever 'gainst that season comes]

Marcellus to Horatio and Bernardo, after seeing the Ghost ,

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Speech: “To be, or not to be, that is the question”

(from Hamlet , spoken by Hamlet)

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‘To be or not to be’: Hamlet’s Humanistic Quaestio

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Vanessa Lim, ‘To be or not to be’: Hamlet’s Humanistic Quaestio , The Review of English Studies , Volume 70, Issue 296, September 2019, Pages 640–658, https://doi.org/10.1093/res/hgz005

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Hamlet’s ‘To be or not to be’ speech has long been the subject of intense scholarly attention. By situating the speech against the backdrop of classical and Renaissance rhetorical theory, this essay demonstrates that there is still much more to be said about it. The speech ostensibly examines a quaestio infinita or a thesis , and follows the rhetorical rule that the right way to do so is by the invocation of commonplaces. This reading of Hamlet’s speech is not only consistent with Shakespeare’s characterization of the university-educated prince, who frequently invokes commonplaces, but also has significant implications for our understanding of the play and Shakespeare’s own practice as a writer. The book that Hamlet is reading could well be his own commonplace collection, and it is perhaps in looking up his entries under the heading of ‘Death’ that Hamlet finds what he needs in order to examine his quaestio .

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To be or not to be Essay

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• As a template for you assignment

Branagh’s Hamlet is a version that sets the “to be or not to be” scene in a palace, in a room surrounded by mirrors (Eirion HyperApps, 2012). The choice of mirrors is a deliberate decision by the director to symbolize Hamlet’s internal conflict. He is contemplating suicide because his life has become difficult for him (Eirion HyperApps, 2012). The mirrors help Hamlet reflect on life and also see the advantages and disadvantages of whichever decision he would make.

Branagh uses the tone and gestures that make it possible for the audience to feel what he feels (Eirion HyperApps, 2012). He has to choose between life and death. He clenches and then raises his hand to threaten and express his anger in the way life is taking him. As the actor and the camera approach the mirror, his image also gets closer to it.

This brings out his emotions, which would be invisible in the real world. It is symbolic in the sense that dreams might come true. When Branagh jerks out his knife and directs it towards the reflection, it emerges that the desire to live overshadows that of dying (Eirion HyperApps, 2012).. He only taps the dagger at the mirror rather than using it on himself.

Laurence Olivier’s production of Hamlet presents this soliloquy in a different way. This scene displays Hamlet sitting on a cliff staring at the sea (Karldallas, 2010). He is in deep thoughts. This can be clearly seen on his face and in his voice. Initially, Hamlet seems to have totally made up his mind. He speaks in a pessimistic tone, and his facial expressions agree with his words. From the beginning to when he says ”To die: to sleep; to sleep,” we believe that he will die.

At the peak of his disillusionment, he pulls out a dagger to commit suicide, but realizes that his death will not help to solve his problems (Karldallas, 2010). The man suddenly drops his ambition to kill himself and raises his voice while reciting the remaining part of the soliloquy.

The words and performances that follow carry a somehow optimistic tone. Hamlet’s attitude to life has changed. Now he seems livelier than before, which shows his renewed readiness to live (Karldallas, 2010). Hamlet looks at his dagger and disposes it into the sea. Then, he stands up and walks to the edge of the cliff, looks into the sea and walks away from this point. This performance, therefore, takes the audience through the whole process of attitude transformation within Hamlet.

Hawke’s version takes a different setting. In this version, Hamlet walks aimlessly in a library looking very depressed (MarceloCordioli, 2008). He looks at the books on the shelves as he walks back and forth, but seems not to notice them. His choice of setting is appropriate as it helps to bring out the picture of Hamlet’s mind. His lack of concentration on the books shows that he is in trouble. At some point, he even stands in one position not knowing what to do next.

The turning point is when he sees a man shooting another man in a movie (MarceloCordioli, 2008). This makes him wake up from his “sleep”. Before this point, Hamlet thinks without speaking, which shows the audience that he is too depressed. Shortly after the movie incident, the man speaks out his thoughts loudly, thus, showing a transformed attitude to life (MarceloCordioli, 2008).

The performance I like most is the one presented by Olivier. The director chooses a very befitting setting. He puts Hamlet on top of a cliff near the sea (MarceloCordioli, 2008). He speaks in a resigned tone and his facial expression changes with the direction of his thoughts. Hamlet looks very depressed at the beginning, but becomes somehow lively when he makes up his mind to live.

This version brings out Shakespeare’s original idea better than the other two. The author wanted to bring out a very depressed Hamlet; a Hamlet who lost a father and intends to kill the person who murdered his father, and married his mother. He even ends up killing the wrong person in the process.

Olivier captures this state of mind by his choice of setting (a cliff near the sea), and Hamlet’s actions when he point a dagger at himself, throws it into the sea and walks away after deciding to spare his life (MarceloCordioli, 2008). The actor’s facial expressions are also appropriate in showing his state of mind.

The other two performances do not express Shakespeare’s ideas fully. The setting Branagh chooses is not the best as he uses too much symbolism, especially the mirrors. The palace he depicts also does not make this version bring out a vivid picture of somebody who wants to commit suicide. The palace would have done better in the scenes involving happy moments than melancholic ones.

Hawke’s version, on the other hand, only concentrates on movements, tone and facial expressions, but not on actions. It portrays Hamlet as a person in deep thought, who would not want to commit suicide or kill somebody. The use of actions would have complemented the facial expressions, movements and tone. The result would have enabled the audience to envision what Shakespeare wanted them to see.

Eirion HyperApps. (2012). Hamlet, To be or not to be-Kenneth Branagh . [Video file]. Web.

Karldallas. (2010). Olivier’s Hamlet Film. To be or not to be . [Video file]. Web.

MarceloCordioli. (2008 ). Hamlet-To be or not to be . [Video file]. Web.

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Home — Essay Samples — Life — Life Lesson — Understanding the Concept of “To Be Or not to Be”

Understanding The Concept of "To Be Or not to Be"

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Home > Blog > How To Start An Essay

How To Start An Essay

• Smodin Editorial Team
• Updated: September 24, 2024
• Step-by-Step Instructions for Writing

The most difficult aspect of composing an academic essay is writing the introduction. Creating an introduction that engages is crucial. It’s supposed to capture the reader’s interest and introduce the main ideas of the entire essay. However, this can be a challenging task.

A lot of students get stuck in the introduction part of their essays. But, there is light at the end of the tunnel. You don’t have to dedicate endless hours to perfecting your introductory paragraphs!

Begin writing without going into too much detail or making things complicated; just get started! In our article, we go through various tips on how to start an essay, take a deep dive into different types of essays , and give you various essay introduction examples. Keep reading if you want to write an essay introduction in no time!

What Makes a Good Academic Essay Introduction?

An effective essay introduction paragraph is supposed to get the reader psyched about your work and there are plenty of ways you can choose to do this. There’s no formula for writing a strong introduction in our academic essays.

You could start with a fact or a quote. Or, you could choose to state the main point of your essay. Whatever you decide, you need to make sure it relates to your essay topic. You wouldn’t begin by quoting Einstein for a Geography essay!

How To Write an Essay Introduction

If you’re wondering how to write an essay introduction that will engage your readers, then you should know that this depends on the type of content you’re writing. Informative essays don’t start the same as a thesis statement, for example. All academic writing has some requirements, however. Hence, when you write an introduction to your essay, you must:

• Ensure it is an attention-grabber. Begin with a fascinating fact or question that gets the reader thinking.
• Include background information. Give necessary context about the subject and its importance.
• Add a strong thesis statement. Clearly state what you plan to prove or argue in your essay; this sets up where everything else is headed.
• Provide a roadmap. Summarize the structure of your essay with the main points listed briefly so that readers know what’s coming next.

1. How To Start an Informative Essay

For informative essays, the focus should be proving that you know everything about your subject. You can do all of this with a good introduction. Early on, you can let the audience know what will be discussed so they want to learn more. Consider it as a way of preparing an audience for the rest of the essay.

Poor introduction: “Water is very important. This essay will talk about water resources and why they are important.”

Why is the above not how to start an informative essay? Because of the following:

• It starts with a generic statement.
• It doesn’t give background or information.

A good introduction, however, would look more like this:

“Over 70% of the Earth’s surface is covered by water. And yet, only 2.5% of it is fresh. This startling fact shows just how important water conservation is. In this essay, we will explore the current state of global water resources. We’ll also look at the challenges of water scarcity, and potential solutions to ensure sustainable water use.”

This is better because:

• It starts with an interesting fact that draws the reader’s attention.
• It helps to establish the context of the essay.
• It adds some much-needed context on what is going to be discussed.

2. How To Start an Argumentative Essay

Wondering how to start an argumentative essay? Introductions to argumentative essays must set the points you’re going to make. Do this by providing the background information on the issues you’re discussing. This sets the stage for your later argument and prepares the reader for what they’re about to read.

Here is a good argumentative essay introduction example:

“Imagine a world where public healthcare is accessible to all. Regardless of income. Universal healthcare is a controversial topic. But, it is necessary for equality and public well-being. In this essay, I will argue that universal healthcare should be implemented in the United States. I will discuss its benefits and address some common counterarguments. This article will also examine successful models from other countries.”

This is good because:

• It starts with a provocative statement.
• There’s a setup for what’s coming next.

Bad introduction: “Universal healthcare is a big topic. This essay will discuss why it should be implemented.”

This doesn’t work. Here’s why:

• It’s too short.
• It doesn’t explain “why” universal healthcare is a “big topic.”
• The introduction doesn’t set up the overall argument.

3. How To Start an Expository Essay

Academic writing has its do’s and don’ts , and expository essays, specifically, give you a bit more freedom when it comes to your introduction. This is because they present evidence without an argument, so you don’t need to present your main idea early on.

It’s still important to try to engage the reader with either interesting context or a surprising fact. An expository essay introduction should work in your favor by setting up the tone of the essay.

Here is a bad introduction example:

Bad introduction: “AI is a topic. This essay will talk about AI and what it does.”

You should not start your expository essay like this because:

• It doesn’t provide context that sets up the necessary background information on the topic.
• The introduction is far too generic. There are no hints on future discussions.

A good introduction example of how to start an expository essay is the following:

Good introduction: “Artificial intelligence (AI) is no longer a concept found in science fiction. It is now a reality. It impacts our daily lives in many ways. From virtual assistants to autonomous vehicles, AI technology is rapidly evolving. This essay will explore the history of AI and its current applications. It will also look at potential future developments.”

The above is a good introduction to an expository essay because of the following:

• It includes specific details about the scope of AI.
• It has a good hook.
• It includes the key points that will be explored in the rest of the essay.

4. How To Start an Analysis Essay

Wan to learn how to start an analysis essay to compel your readers to want to know more? Analysis essay introductions should include an engaging hook . You could also choose to present a bit of background information about the text or subject that you’re analyzing.

Because you need to carry out a deep examination of a subject, writing a strong introduction is necessary. It prepares the reader for the new and exciting insights you’re about to provide.

Here’s a good introduction for an analysis essay about Shakespeare:

“Hamlet’s central theme is the human condition. It’s filled with complex characters and intricate themes. The character of Hamlet himself embodies the struggle between action and inaction. This is a central theme of the play. In this essay, I will analyze Hamlet’s soliloquies. The aim is to uncover how Shakespeare uses them to develop this theme and reveal Hamlet’s internal conflict.”

This is a good introduction because it:

• Sets up the key themes of Hamlet
• Explains what the essay will cover

Bad introduction: “Hamlet is a play by Shakespeare. This essay will analyze Hamlet and what he says.”

This is a poor opening statement because:

• The introduction is far too short and doesn’t provide any context on Hamlet.

5. How To Write an Essay Starting With a Quote

Knowing how to write an essay starting with a quote can be a useful skill to have. Starting with an interesting quote within the first paragraph can pack a punch when done properly. Use the following techniques to create an engaging essay introduction:

• Start with the quote itself, making sure it is relevant to your topic.
• Explain the relevance of the quote to your essay’s topic.
• Provide context for the topic you are discussing.
• Clearly state your main argument or purpose.
• Write an overview for the rest of your academic essay.

6. How To Start a Thesis Statement

A clear thesis statement is essential. It works by guiding the direction of your essay and informs the reader of your main argument. Creating a strong introduction with your thesis statement sets the tone for the rest of your academic essay.

Here’s how to make sure your thesis statement begins well:

• Consider your stance or perspective on the topic. Think about what you want to discuss, explain, or analyze in your essay.
• Narrow your focus. Think about your topic and choose an angle that you can cover within your essay.
• Craft a declarative statement. This should clearly express your main argument or position on the topic. It needs to be both specific and focused.
• Briefly outline why your argument matters. What is the significance of your thesis statement?
• Review your thesis statement to ensure it is clear and concise. Be specific and make adjustments to clarify your argument.

7. How To Start a Literary Analysis

A literary analysis essay introduction needs to be systematic so that you’re showing readers how you’re exploring the work. Before you write your introduction, you need to choose a niche angle to explore. Then, provide the relevant background information and why you’ve chosen your theme.

Let’s look at a great example of a literary analysis introduction for the book “1984:”

“In George Orwell’s novel, “1984,” the pervasive theme of totalitarianism is central to understanding dystopian societies. Using the character of Winston Smith, Orwell explores the dangers of a government’s control over its citizens’ thoughts. This essay will analyze how Orwell uses symbolism to portray the oppressive regime in “1984” and its impact on freedom.”

This works because:

• It provides a concise summary of the key themes that are going to be explored.
• It discusses key elements from the book to add much-needed context.

Can Smodin AI assist me in creating an essay introduction?

Smodin AI can help you create an essay introduction that will captivate your readers. Whether you need a strong opening line or a clear thesis statement, it can do it all! To get help, simply input your essay topic and the type of introduction you want. Smodin will then write it for you!

How can I make my essay introduction effective?

To make your essay introduction effective, begin with something that catches the reader’s attention. This could be a fact or quote. Provide context by giving necessary background information about the subject matter. State clearly what exactly you’re going to prove or argue throughout the essay in one sentence.

Make sure to let the reader know briefly about the main points and what you will be discussing. This sets up the reader’s expectations from when your essay begins.

What is the ideal length of an essay introduction?

Make sure your essay introduction is neither too short nor too long but straightforward. Normally, it should be around 10-15% of the whole word count limit given for your assignment. So, if your entire essay should be 1000 words, then aim to write between 100-150 words for your introduction.

This ensures that everything necessary gets included without overloading the reader with information that might discourage them from continuing reading.

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Harvard Grad Shares The College Essay About McDonalds That Got Him Into Almost Every University He Applied To

"keep in mind that the admissions officer is some dude lying on a couch reading your essay at 10 pm.".

• Megan Quinn

Written on Sep 23, 2024

As high school seniors prepare their college essays, they are often pressured to compose a story about their monumental, life-altering experiences — the more dramatic, the better!

However, the reality is that you don’t have to climb Everest to write an effective essay.

One man proved this with his brief college essay about studying in a local McDonald's, which he credits getting him into nearly every institution he applied to, including Harvard.

A Harvard graduate shared the genius McDonald’s essay that got him into nearly every college he applied to.

Jeffrey Wang , a Harvard alum who graduated as Valedictorian from his high school class in 2015, is assuring modern-day high schoolers that they do not have to craft a masterpiece about how they wrote a symphony while balancing a full course load of honors classes in order to get into college.

RELATED: High-Performing Student Accepted To Duke & USC Reveals Why She Turned Both Down To Go To A State University

He should know — his entire essay was centered around a local McDonald’s restaurant he studied at throughout high school. However, it had quite an unexpected takeaway and humanized him beyond the average applicant attempting to impress recruiters.

Wang shared a screenshot of his essay on X (formerly known as Twitter), and it has since been viewed over 2 million times.

“Some people study best at the library. Others occupy a corner in a coffee shop where inspiration and creativity flow with a cappuccino. Personally, I do some of my best work while sipping a one dollar plus tax McIced Tea at a plastic table on which my laptop and a book rest,” his essay began.

I got into Harvard + almost every college I applied to w/ an essay about studying at McDonalds. Had multiple admissions officers write me handwritten letters complimenting me on it To any frantic high school senior, the best advice I got was - keep in mind that the admissions… pic.twitter.com/94sKmcQGSD — Jeffrey Wang (@wangzjeff) August 8, 2024

“The subtle scent of grease fills my nose, and the shouting of order numbers rings in my ears. I’ve found an unconventional place of contentment beneath the Golden Arches.”  Wang goes on to tell a story about one summer night when he stumbled across his local McDonald’s restaurant and decided to order a meal and sit down for a bit.

As he was eating, he found serenity in all of the hustle and bustle, the aroma of hamburgers and fries, and the sound of children begging their parents for a McFlurry .

“I realize that there is nothing on my mind but my surroundings and my stomach. I’m completely at ease; no pretension exists in this global franchise that has more stores in the world than people in my town,” he wrote. 

After finishing up his meal, Wang went to his car, retrieved his books, and went back inside to study at the same table. It was hours later, when he lifted his head up from his books, that he realized it was the most productive he’d been in months.

Since that summer night, Wang made the McDonald's his go-to study nook.

RELATED: Girl Accepted By Yale And Columbia Despite Only Having A 3.8 GPA Had One Thing On Her Application No One Else Did

While the Harvard grad recognized that McDonald's may not be the ideal place for others to get their work done, he claimed that it was the perfect place for him.

“While attention-catching sights and sounds sometimes divert my attention, they’ve helped me to work by forcing me to focus harder,” Wang wrote.

“Better yet, I’ve found meaningful the array of diversions I’ve experienced, from a conversation with my quirky, retired seventh-grade English teacher about how fast (not quick, he had taught me) life passes by, to companionship with employees here like Milly, who works the cash register, and Maureen, the manager.”

For Wang, McDonald’s became a crucial place for him to escape and study — and it certainly helped that he had some delicious options from the dollar menu!

“For this, McDonald’s speaks to me,” he wrote. “Sometimes, I put my pencil down or stop typing into a Google Doc just to appreciate the simple utility of the location in a sort of wistful way. I see my life as a sort of quest to find ultimate authenticities, and while I know that there will be more truths to discover and that they will most certainly be more difficult to find, my being content at McDonald’s is one conclusive victory.” 

RELATED: College Expert Replies To Kids Who Say Universities With High Acceptance Rates Are For ‘Dumb’ Students

The takeaway from the Harvard graduate's essay was simply that contentment can be found in the most unexpected places — like a McDonalds restaurant.

Wang concluded his essay by declaring that in the chaos of everyday life, many people have difficulty focusing and being content exactly where they are. 

“I’ve learned that contentment can exist in imperfect and unforeseen places when you simply observe your surroundings, adapt, and maybe even eat a french fry,” he wrote.

Wang claimed that some college admissions officers took the time to write him personal handwritten letters praising him for his work and sharing how much they enjoyed it.

He also had a message to high school seniors stressing out about composing a masterpiece essay.

“To any frantic high school senior, the best advice I got was — keep in mind that the admissions officer is some dude lying on a couch reading your essay at 10 p.m.,” he revealed.

“Make sure that this person is entertained and thinks that you're an authentic human being.” 

Teenagers should focus on the profound beauty of ordinary life when composing college entrance essays.

Most 16 or 17-year-olds have never experienced anything earth-shattering, and that's OK. 

Wang illustrated beautifully that college essays do not have to be extraordinary tales to make an impact. They can be as simple as how your morning cup of coffee is your favorite part of the day.

“The truth is that most of us don’t live in a superhero movie where one event just changes the course of our lives,” Pratik Vengal , who offers advice to incoming college students, said in a video. 

Vangal explained, “The most common fallacy that I see online is that you need to have experienced some major disturbance, or grief to write a good college essay, and that’s simply not true.”

“The most successful college essays that I’ve read take a small moment, something even as modest as waiting at the bus stop in the morning, and transform it into an essay that truly shows colleges who you are. Your goal is not to prove your intelligence, they know you’re smart! Colleges want to hear an authentic and genuine story written in your voice.”

When you think about it, college admissions officers have to read over endless paperwork from thousands of applicants. They are more than likely sick of having to read the same essays that deal with fabricated themes of teenagers saving an entire population or curing a mystery illness just to impress them.

They want to read something that is simple, to the point and depicts you as a human being and not an applicant number or a superhero.

As Wang, who is now the co-founder of his very own company, has proven to us, you do not have to have extraordinary experiences to receive extraordinary opportunities.

RELATED: How A High School Student At The Bottom Of His Class With A 2.1 GPA Wrote A ‘Cliche’ Essay About Bowling And Got Into Yale

Megan Quinn is a writer at YourTango who covers entertainment and news, self, love, and relationships. 

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To have or not to have: understanding wealth inequality.

Institute Working Paper 98 | Published September 24, 2024

Differences in household saving rates are a key driver of wealth inequality. But what determines these differences in saving rates and wealth accumulation? We provide a new answer to this longstanding question based on new empirical evidence and a new modeling framework. In the data, we decompose U.S. household wealth into its main portfolio components to document two new empirical facts. First, the variation in wealth by income is mainly driven by differences in participation in asset markets rather than by the amounts invested. Wealth differences are a matter of to have or not to have. Second, the large heterogeneity in asset market participation closely follows observed differences in access to asset markets. Combining these two facts, we develop a new model of life-cycle wealth accumulation in which income-dependent market access is the key driver of differences in asset market participation and saving rates by income. The calibrated model accurately captures the joint distribution of income and wealth. Eliminating heterogeneity in access to asset markets increases wealth accumulation in the bottom half of the income distribution by 32%. Facilitating access to employer-sponsored retirement accounts improves broad-based wealth accumulation in the U.S. economy. Historical data support the model’s prediction.

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Why a good story is not the same as good leadership.

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We are hopelessly enamored with brash, bold, and unashamedly action-prone leaders.

Long before we had Elon Musk, Mark Zuckerberg, and their peers, there was Winston Churchill, who famously quipped “I never worry about ‘action’, only inaction,” or Ernest Shackleton, the much-celebrated British explorer whose spectacular but near-disastrous expedition aboard the Endurance is a staple of LinkedIn posts and business school case studies.

But should such leaders, past and present, really serve as our role models? Surely the antics of Shackleton, Musk, and the like are inspirational and, if nothing else, make for gripping reading. But are they the examples we should be profiling for aspiring leaders, the persons whose lives we should dissect in our quest for enduring leadership wisdom?

A look both to the past and to contemporary leadership research would suggest that the answer is an unequivocal “no.”

This is because those individuals, past and present, who generate a lot of noise and sensational activity are not necessarily the ones who had the greatest positive impact. Nor are they the ones who steered their teams and ventures to successful outcomes. In other words, boldness and action in the face of dramatic circumstances does not necessarily equal good leadership–yet we still privilege exactly these traits when selecting leaders.

There are many studies, from a diverse range of perspectives and disciplines, that make this point. Binghamton University Professor Neil MacLaren's research , for example, has demonstrated our penchant for seeing leadership potential in those who speak the most, regardless of what they say.

A recent meta-analysis by Professor Nurcan Ensari of the California School of Professional Psychology and colleagues found that "authoritarian and self-confident men" have a clear advantage in being perceived by others as effective leaders.

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Where does our penchant for promoting such leaders come from? There is not one compelling answer to this question. But one potential explanation has to do with out penchant for stories (as I argue in my book The Unseen Leader ).

Since our days in the caves, we humans have had an abiding love for adventure stories , especially the so-called hero’s journey (think Harry Potter, Luke Skywalker or Jesus), in which an individual is suddenly thrust into a crisis and, through a series of trials and a near-death experience, transforms him or herself and their legions of followers. When we look around for inspiring examples or to nominate someone for a tough job, we tend to zero in on those individuals who conform to our preferred hero narrative.

But, alas, a good story does not necessarily equate to good leadership. We’d be wise to keep this in mind the next time we’re in a position to judge, reward or promote a leader.

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My childhood with Tourette syndrome — and the 1 friend who helped me through it

“Quelle étrange petite fille!” said an agitated woman in the grocery store.

When my 8-year-old self asked my mother what the woman had said, Mom didn’t reply, even though she knew some Cajun French, which was often spoken in the part of southern Louisiana where I grew up.

Now I know the answer: What a peculiar little girl.       

Studies estimate that 1 in 162 children have Tourette syndrome, though many children go undiagnosed, the Centers for Disease Control and Prevention reports. In 19 out of 20 cases, the neurological disorder is genetic, according to Johns Hopkins Medicine .

Those numbers take on true meaning when you are one of the numbers. I am one of the numbers. My father is one of the numbers. My grandmother — one of those numbers — was humiliated by her incessant knee slapping and the dogged bullying of her classmates to the point that she dropped out of school in the eighth grade. 

If my family and I weren’t personally affected by the Tourette’s statistics, I may have never given much thought to Tourette’s or acquired any real awareness about what those with Tourette’s endure. I doubt I’d even know what Tourette’s really is, because it’s scarcely spoken of, outside of outlandish, mean joking.

Tourette’s isn’t what a lot of people think it is. It isn’t necessarily making dramatic movements or shouting profanities or slapping oneself, though tics can certainly manifest in myriad ways. According to the CDC , “Tourette’s is a condition of the nervous system that causes people to make sudden and repeated twitches, movements or sounds, called ‘tics.’”

Far beyond its textbook definition, for me, Tourette’s was blinking uncontrollably. It was sitting on my hands in Mr. Faulk’s second grade class in an attempt to stop my unruly limbs from flying to my face, unwarranted. It was whispering or saying or shouting “Amen,” both in church on Sunday (to which the pastor would politely respond “Hallelujah!”) and in the middle of standardized testing. My tics erupted on my grandmother’s front porch swing, in the produce department, and at the popular girl’s birthday party her parents forced her to invite “the weird girl” to. My tics didn’t discriminate based on the time or place. My tics were unrelenting and life-altering. They were exacerbated by stress, so naturally, the more stressed about ticking I became in social settings, the more noticeable my tics were.

Like most of the children assailed by Tourette’s, I grew out of my tics. My grandmother grew out of hers. My father lives with his, now so innately part of him that our family endearingly views his tics — like jolting his shoulders or screaming “What!” in an otherwise placid restaurant — like loveable quirks instead of symptoms of a neurological disorder.

Although I haven’t exhibited obvious symptoms of Tourette’s in over 17 years, vivid memories of others’ responses to my having Tourette’s have stuck with me.

Let’s face it. The old adage “kids can be cruel” is true, and I experienced kids indeed being cruel in their teasing. My parents even opted to homeschool me because of the bullying.

Today, when I look back on my childhood from the safe distance of adulthood, rather than dwell on the pain Tourette’s caused — the cruelty — I instead gravitate toward reflecting on something completely converse: absolute kindness and a love so genuine and enveloping that it eclipsed the pain.  

Despite every shaming comment or joke or another child’s laughter at my expense, I knew there was one person I could count on — one peer who didn’t see what the others saw: my best friend, Tayler.

I met Tayler before I began ticking. One winter day in kindergarten, as I stood in line to get a popsicle at the Snack Shack on the edge of the school’s playground, I made the disheartening discovery that I only had one quarter when I needed two.

Maybe Tayler, the new girl who had just transferred to our school midway through the year, saw the disappointment on my face. Maybe even at 7 years old, she had an unnatural level of empathy and an aptitude for reading others’ emotions, because she stopped playing four square, walked over and said, “Do you need more quarters?”

“Just one,” I said.

When she pulled out a shiny Georgia state quarter, I accepted it. We talked until I ordered my popsicle, which we broke and shared. We were friends thereafter.

Most weekends, her grandmother would drop her off at my house, where she’d spend the night. We’d stay up playing board games, eating Pop-Tarts and giggling. We’d wake up in the morning to swim in a kiddie pool, slip-n-slide down the hill in my backyard, ride scooters, play hopscotch.

Even after my tics materialized and I left the traditional school setting, and I first heard a neurologist peg me with Tourette's syndrome, my weekends didn’t change. My friendship with Tayler didn’t change. We’d still stay up way too late, simply being girls together, growing and learning and laughing.

In public, she treated me the same as she did in private: like her best friend — one she loved and naturally stood up for.

When I attended one of her school functions, another girl asked me, “What’s wrong with you? Are you some kind of freak?”

Innately shy and then beaten down by Tourette’s, I was speechless, with tears forming. Tayler declared, “Don’t talk to her that way,” grabbed my arm, and stormed out of the gym with me in tow. We spent the rest of the free hour in the library together.

Another time, once we were out of earshot of one of the neighborhood kids who taunted me as we passed by on scooters, she said, “We can’t listen to kids like that.”

What stands out to me now is the “we.”

Somehow, an 8- and then 9-, 10-, and 11-year-old had the empathy to walk this difficult path with me, the wherewithal to speak up when I needed defending, and the wisdom beyond her years to see what I couldn’t: that we really shouldn’t listen to kids like that. It would be many years before I could see the reality of what Tayler gave me.

I wish I could write a beautiful ending, telling you, reader, that Tayler and I remained best friends forever. But regrettably, as often happens to best childhood friends, our paths eventually diverged — unraveling our relationship slowly, first with differing interests, then different schools, and finally, physical distance from a move. Eventually, all that remained of our once sister-like friendship were few-and-far-between phone calls. Then, at just 23 years old, Tayler died. I never told her what she’d done for me.

If I could talk to her now, I’d show her this essay and say, “You made my childhood brighter with your understanding, defense, acceptance and love.”

Should you know someone with Tourette’s, love someone with Tourette’s, or see someone in passing who has Tourette’s, remember this: All we need is your understanding, defense, acceptance and love.

Olivia Savoie is a family heirloom biographer based in Lafayette, Louisiana. She is currently writing a memoir about her profound relationships with some of her life story subjects. 

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GCSE/IGCSE English Language 9-1: ‘Young people are selfish.' Essay Sample Answer

Subject: English

Age range: 14-16

Resource type: Other

Last updated

25 September 2024

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This digital file offers an insightful sample essay in response to the statement, “Young people are selfish. They should all be made to volunteer to help others.” The sample answer presents a balanced, thoughtful argument that challenges the assumption of youth selfishness, highlighting the importance of voluntary community service while addressing the complexities of adolescence.

In this essay, several key language techniques have been used to enhance the writing. The use of rhetorical questions engages the reader, making them think critically about the issue. Contrasting arguments are presented to add depth and balance to the discussion. Descriptive language paints a clear picture of real-world examples, and persuasive phrases invite the reader to consider alternative perspectives. Formal tone and accurate grammar ensure that the writing remains polished and exam-ready.

This sample is an essential tool for exam preparation, as it not only demonstrates how to structure a compelling essay but also provides clear examples of language techniques used effectively in an argumentative format. By studying this model, students will gain valuable insights into crafting high-quality responses that meet the exam criteria, making this digital file a must-have resource.

Click the download button to have the full file at your fingertips!

CONTAINS: 10 PAGES

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Using Haitian Immigrants as a Campaign Issue

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To the Editor:

Re “ I’m Ohio’s Governor. Here’s the Truth About Springfield ,” by Mike DeWine (Opinion guest essay, Sept. 21):

It is nice that Governor DeWine has nice things to say about the Haitian immigrants who have moved to Springfield, Ohio. But by supporting the Trump-Vance ticket, Mr. DeWine is not putting his money where his mouth is and is essentially saying he would be just fine with four more years (or, God forbid, even more) of slanderous, violence-encouraging, hatred-building attacks against immigrants in his state and the rest of the country.

Governor DeWine, like all of us, has a choice. We can pretend that Donald Trump will magically become the exact opposite of who he has shown himself to be over nine years in politics and decades in the public eye, or we can do our part to ensure that he never comes near the White House again.

Wesley Joseph Union Vale, N.Y.

Mike DeWine is “saddened” by how Donald Trump and JD Vance are using Springfield, Ohio, in their campaign rhetoric. But he still supports them in the coming election.

Let’s do a simple thought experiment, and assume for a moment that Springfield is the new home of 20,000 immigrants legally allowed into the U.S. under the same law, but that they arrived from Poland or Albania. Does anyone believe that this would be something that Mr. Trump and Mr. Vance would be talking about?

The underlying reason that they are targeting these law-abiding, hard-working Haitians should be obvious to anyone, and disqualifying for anyone seeking these high offices. C’mon, Mike, you are so close to getting this right — just one more step.

Lawrence B. Peck Chicago

Re “ Trump Knows What He’s Doing in Springfield. So Does Vance ,” by Jamelle Bouie (column, Sept. 19):

What the Trump-Vance campaign is doing with its focus on Haitians in Springfield, Ohio, is exactly what the George H.W. Bush campaign did in 1988 with its relentless ads in the media about Willie Horton , a Black man furloughed from prison during Michael Dukakis’s time as governor of Massachusetts. Mr. Horton committed violent crimes when released, the blame for which could not fairly be placed at Mr. Dukakis’s doorstep.

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