Introductory Paragraphs

Introductory paragraphs are important because they determine how a reader approaches the rest of your writing. They set your tone and trajectory and outline the argumentative context in which your reader understands everything else you say in your paper. In addition, introductions can help you focus your ideas and frame your arguments. Here are some things to look for in an introduction. They are not hard-and-fast rules, but are common and successful choices.

1. Open by introducing your work and the context in which you wish to discuss it. Many papers include the title and/or author of the work - but don't make the mistake of thinking of this as a "general" introduction to the work you are analyzing. (DON'T, for example, start by telling us when the author wrote his paper, unless that is pertinent to your argument in some way). From the start, your introduction should move us towards a unique claim about the work you are discussing. 

2. Establish an argument. Once you have introduced your work, you can start to argue about it. IHUM professors often ask for theses that "someone could disagree with." This means that your thesis should not be self-evident or plot summary, but you should also avoid theses too close to an argument your professor or TF has made (though it seems like they take all of the good ones!). At first it can seem daunting to try to think of an argument that is neither obvious nor patently false, but you would actually be surprised what one can get away with arguing. That's because literary analysis is less about right and wrong answers and more about understanding works in different ways. As you develop your own unique argument, statements of perspective that begin "We can think of this work as ..." are good places to start, although you may ultimately want to frame your argument more firmly, asserting that your perspective accurately characterizes the literature in question.

3. Frame your paper. The end of your introduction serves not only to present your position, but to prepare your audience to hear your position defended in your paper. You do your audience a favor when you show them how your paper will be organized - this allows them to understand the context and purpose of the rest of the paper as they read it. For this reason, the end of an introduction can sometimes resemble a miniature version of its paper, outlining. However, don't try to place your entire paper in the introductory paragraph (it won't fit) and don't be afraid to leave arguments or conclusions for the end of your paper, especially if they will make more sense after your body paragraphs.

A sample introductory paragraph is pasted below. It is by no means perfect, but does include the qualities listed above:

1. The paragraph begins with an introduction to The Odyssey that is specific to the argument of the paper. It's initial observation (The Odyssey is about returns) is not really argumentative, but already frames The Odyssey in a way relevant to the paper's main point.

2. The paragraph then moves towards a unique argument that could be disagreed with. (Odysseus and Telemachos must fix themselves rather than develop themselves)

3. Then the paragraph suggests a structure in which this claim could be defended. From the last few sentences, we might guess that the paper will follow the following general pattern: (Telemachos must defeat his insecurity > Odysseus must defeat his hubris > Once they have internally cleanses themselves, the heroes can cleanse Ithaca).

Although much of the daring-do of The Odyssey occurs on high seas and foreign soil, the eventual goal throughout the poem is a return to normalcy. Odysseus and Telemachos, in particular, must redeem Ithaca by bringing order to their house, getting rid of Penelope's suitors, and re-establishing Odysseus’ pre-eminence. Since this fundamental action is one of restoration rather than creation, it is fitting that the internal character transformations of the Odyssey should also be redemptive. As Odysseus and Telemachos attempt to restore Ithaca, their rites of passage require them not to expand themselves or develop novel virtues, but to rid themselves of vices that have perpetuated the discord of the past twenty years. Before he can reunite with his father, Telemachos is compelled to cast off the doubt and insecurity that have developed during his fatherless childhood. Likewise, Odysseus cannot re-establish his household until he has overcome his hubris and distrust of others. Only after Odysseus and his son have purged their own vices can they cleanse Ithaca and leave a period of their lives marked with war, chaos, and hardships.