Essay format includes three essential parts: introduction, body, and conclusion. Introduction should include a thesis statement, body paragraphs should include topic sentences while conclusion should summarize the main points made in the paper. In addition, you should write an abstract, create outline and compile a reference list. Below is the short sample essay. It is provided here to show you how to add topic sentences to each paragraph. If you need custom services, feel free to ask for writing help at our site. We are working 24/7 without weekends! Get an essay you need today!
While the eighteenth century was to be a critical age in the history of France and of Western civilization in general, it began as if stability had been reached and nothing new was expected to happen. Bernard le Bouvier de Fontenelle had just become perpetual secretary of the Académie des Sciences, replacing J. B. Du Hamel; Fontenelle had published some minor literary pieces and a series of elegant Entretiens sur la pluralité des mondes which had aided in making the system of Copernicus comprehensible to the layman. He began at once to do for the science of France what had not so far been done for that of any nation, not even by the assiduous Oldenburg for the Royal Society of which he had been secretary from 1661 to 1677. This was the preparation of short biographical accounts of deceased members of the Académie, Eloges, which, if used with cautious and imaginative discrimination, are still useful to the historian of science and even to the historian of culture. In his way, he was one of the first to see the literary and historical value that could be added to the conventional academic obituary. By including discussions of theory as well as descriptions of scientific investigations and discoveries, Fontenelle made a notable contribution to the expansion of the literary genres typical of the eighteenth century.
Fontenelle marks the end of the seventeenth-century synthesis of science and the imagination, and he heralds a new era. His biographical approach to human beings bears a closer relationship to the characteristic patterns of eighteenth-century thought and writing than it does to the dramatic isolation of human problems typical of the age of Racine. While tragedy continues to be produced, its concentrated vigor has left it; one finds the discursive rambling of the Voltairean form, which toys with local color and exotic types in order to illustrate an epoch and a culture (for example, Zaïre, Alzire, L'Orphelin de la Chine) while expounding a conventional philosophe ethics (Le Fanatisme). The real center of imaginative interest is to be found in the novel, whose romantic outlook and bourgeois themes so clearly contaminate the classicism of these unsatisfactory plays. Under the strong influence of Defoe and Richardson, this old genre discovers a new vitality, exploits a score of new forms-utopias, imaginary travels, Oriental tales, pretended memoirs-develops rapidly through the whole century, and reflects as it goes all the multiple interests of this sprawling age.
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