Compare And Contrast Essay Quotes

Highway Congestion We all complain about highway congestion. That is interesting for a different reason. The private automobile industry is able to produce all the automobiles anybody wants to drive, but the government is apparently not able to produce a comparably adequate highway system, a clear contrast.

These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

A novel is a storyline with an antagonist and protagonist, a plot, conflict, and resolution. A memoir is a slice of life. An autobiography is limited to the facts set out in chronological order. When left in the hands of a deft writer a short story is a literature delicacy, a delectable dish comparable to eating a spoonful of chocolate mousse. An essay, in contrast, shows an energetic mind at work. Each essayist employs the prose style and technique that best fits the writer’s climactic meanderings. Personal essays are malleable in form; they contain a blend of memoir, observation, speculation, and opinion.

It was, as Berlin remembered it: “The fox knows many things, but the hedgehog knows one big thing.” 2 The passage survives only as a fragment, so its context has long been lost. But the Renaissance scholar Erasmus played around with it, 3 and Berlin couldn’t help doing the same. Might it become a scheme for classifying great writers? If so, Plato, Dante, Dostoevsky, Nietzsche, and Proust would all have been hedgehogs. Aristotle, Shakespeare, Goethe, Pushkin, and Joyce were obviously foxes. So was Berlin, who distrusted most big things—like logical positivism—but felt fully at ease with smaller ones. 4 Diverted by World War II, Berlin didn’t return to his quadrupeds until 1951, when he used them to frame an essay he was preparing on Tolstoy’s philosophy of history. It appeared two years later as a short book, The Hedgehog and the Fox. Hedgehogs, Berlin explained, “relate everything to a single central vision” through which “all that they say and do has significance.” Foxes, in contrast, “pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way.” The distinction was simple but not frivolous: it offered “a point of view from which to look and compare, a starting point for genuine investigation.” It might even reflect “one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general.

In short, in contrast to the magician - who is still hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient man to man; rather, it is through the operation that he penetrates into him. Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.

Analyze’, ‘compare’, ‘contrast’, ‘relate’, and ‘examine’. These are kinds of instructions for an analytical assignment.

In one of his essays William Placher comments on a time when the theological use of the Bible presupposed a deep knowledge of what the Bible says.1 The example he serves up is from the final pages of Calvin’s Institutes, where the Reformer thinks through the issue of what Christians should do if they find themselves under a wicked ruler. Placher notes that Calvin reflects on Daniel and Ezekiel regarding the need to obey even bad rulers; he weighs the command to serve the king of Babylon in Jeremiah 27. He quotes from the Psalms, and he cites Isaiah to the effect that the faithful are urged to trust in God to overcome the unrighteous. On the other hand, he evenhandedly notes episodes in Exodus and Judges “where people serve God by overthrowing the evil rulers,” and texts in 1 Kings and Hosea where God’s people are criticized for being obedient to wicked kings. He cites Peter’s conclusion before Gamaliel, according to Acts: “We must obey God rather than men” (Acts 5:29). From these and other biblical passages, he proceeds to weave nuanced conclusions. We should disobey what governement mandates if it violates our religious obligations. By contrast, Christians should not normally go around starting revolutions. But those who are in positions of authority should deploy that authority to deal with those who exploit others. Even violent revolutionaries may in mysterious ways perform the will of God, though of course they may be called to judgment on account of their evil. Placher then comments: My point is not to defend all of Calvin’s conclusions, or even all of his method, but simply to illustrate how immersion in biblical texts can produce a very complex way of reflecting within a framework of biblical authority, compared to which most contemporary examples look pretty simple-minded. We can’t “appeal to the Bible” in a way that’s either helpful or faithful without beginning to do theology. Theology begins to put together a way of looking as a Christian at the world in all its variety, a language that we share as Christians and that provides a context rich enough for discussing the complexities of our lives. Absent such a shared framework, we can quote passages at each other, but the only contexts in which we can operate come from the discourses of politics and popular culture.2