A2 English Literature Coursework Conclusion Transitions

As a "part of speech" transition words are used to link words, phrases or sentences. They help the reader to progress from one idea (expressed by the author) to the next idea. Thus, they help to build up coherent relationships within the text.

Transitional Words

This structured list of commonly used English transition words — approximately 200, can be considered as quasi complete. It can be used (by students and teachers alike) to find the right expression. English transition words are essential, since they not only connect ideas, but also can introduce a certain shift, contrast or opposition, emphasis or agreement, purpose, result or conclusion, etc. in the line of argument.
The transition words and phrases have been assigned only once to somewhat artificial categories, although some words belong to more than one category.

There is some overlapping with prepositions and postpositions, but for the purpose of usage and completeness of this concise guide, I did not differentiate.

Agreement / Addition / Similarity

The transition words like also, in addition, and, likewise, add information, reinforce ideas, and express agreement with preceding material.

 

in the first place

not only ... but also

as a matter of fact

in like manner

in addition

coupled with

in the same fashion / way

first, second, third

in the light of

not to mention

to say nothing of

equally important

by the same token

again

to

and

also

then

equally

identically

uniquely

like

as

too

moreover

as well as

together with

of course

likewise

comparatively

correspondingly

similarly

furthermore

additionally

 

 

Opposition / Limitation / Contradiction

Transition phrases like but, rather and or, express that there is evidence to the contrary or point out alternatives, and thus introduce a change the line of reasoning (contrast).

 

although this may be true

in contrast

different from

of course ..., but

on the other hand

on the contrary

at the same time

in spite of

even so / though

be that as it may

then again

above all

in reality

after all

but

(and) still

unlike

or

(and) yet

while

albeit

besides

as much as

even though

although

instead

whereas

despite

conversely

otherwise

however

rather

nevertheless

nonetheless

regardless

notwithstanding

 

 

Cause / Condition / Purpose

These transitional phrases present specific conditions or intentions.

 

in the event that

granted (that)

as / so long as

on (the) condition (that)

for the purpose of

with this intention

with this in mind

in the hope that

to the end that

for fear that

in order to

seeing / being that

in view of

If

... then

unless

 

when

whenever

while

 

because of

as

since

while

lest

in case

provided that

given that

only / even if

so that

so as to

owing to

inasmuch as

due to

 

Examples / Support / Emphasis

These transitional devices (like especially) are used to introduce examples as support, to indicate importance or as an illustration so that an idea is cued to the reader.

 

in other words

to put it differently

for one thing

as an illustration

in this case

for this reason

to put it another way

that is to say

with attention to

by all means

 

 

 

important to realize

another key point

first thing to remember

most compelling evidence

must be remembered

point often overlooked

to point out

on the positive side

on the negative side

with this in mind

notably

including

like

to be sure

namely

chiefly

truly

indeed

certainly

surely

markedly

such as

 

especially

explicitly

specifically

expressly

surprisingly

frequently

significantly

particularly

in fact

in general

in particular

in detail

for example

for instance

to demonstrate

to emphasize

to repeat

to clarify

to explain

to enumerate

 

 

Effect / Consequence / Result

Some of these transition words (thus, then, accordingly, consequently, therefore, henceforth) are time words that are used to show that after a particular time there was a consequence or an effect.

Note that for and because are placed before the cause/reason. The other devices are placed before the consequences or effects.

 

as a result

under those circumstances

in that case

for this reason

in effect

for

thus

because the

then

hence

consequently

therefore

thereupon

forthwith

accordingly

henceforth

 

 

Conclusion / Summary / Restatement

These transition words and phrases conclude, summarize and / or restate ideas, or indicate a final general statement. Also some words (like therefore) from the Effect / Consequence category can be used to summarize.

 

as can be seen

generally speaking

in the final analysis

all things considered

as shown above

in the long run

given these points

as has been noted

in a word

for the most part

after all

in fact

in summary

in conclusion

in short

in brief

in essence

to summarize

on balance

altogether

overall

ordinarily

usually

by and large

to sum up

on the whole

in any event

in either case

all in all

 

Obviously

Ultimately

Definitely

 

Time / Chronology / Sequence

These transitional words (like finally) have the function of limiting, restricting, and defining time. They can be used either alone or as part of adverbial expressions.

 

at the present time

from time to time

sooner or later

at the same time

up to the present time

to begin with

in due time

as soon as

as long as

in the meantime

in a moment

without delay

in the first place

all of a sudden

at this instant

first, second

 

immediately

quickly

finally

after

later

last

until

till

since

then

before

hence

since

when

once

about

next

now

 

 

formerly

suddenly

shortly

henceforth

whenever

eventually

meanwhile

further

during

in time

prior to

forthwith

straightaway

 

by the time

whenever

 

until now

now that

 

instantly

presently

occasionally

 

 

Many transition words in the time category (consequently; first, second, third; further; hence; henceforth; since; then, when; and whenever) have other uses.

Except for the numbers (first, second, third) and further they add a meaning of time in expressing conditions, qualifications, or reasons. The numbers are also used to add information or list examples. Further is also used to indicate added space as well as added time.

 

Space / Location / Place

These transition words are often used as part of adverbial expressions and have the function to restrict, limit or qualify space. Quite a few of these are also found in the Time category and can be used to describe spatial order or spatial reference.

 

in the middle

to the left/right

in front of

on this side

in the distance

here and there

in the foreground

in the background

in the center of

 

adjacent to

opposite to 

here

there

next

where

from

over

near

above

below

down

up

under

further

beyond

nearby

wherever

around

between

before

alongside

amid

among

beneath

beside

behind

across

 


 

List of Transition Words

Transition Words are also sometimes called (or put in the category of) Connecting Words. Please feel free to download them via this link to the category page:
Linking Words & Connecting Words as a PDF.

It contains all the transition words listed on this site. The image to the left gives you an impression how it looks like.

 

 

Usage of Transition Words in Essays

Transition words and phrases are vital devices for essays, papers or other literary compositions. They improve the connections and transitions between sentences and paragraphs. They thus give the text a logical organization and structure (see also: a List of Synonyms).

All English transition words and phrases (sometimes also called 'conjunctive adverbs') do the same work as coordinating conjunctions: they connect two words, phrases or clauses together and thus the text is easier to read and the coherence is improved.


Usage: transition words are used with a special rule for punctuation: a semicolon or a period is used after the first 'sentence', and a comma is almost always used to set off the transition word from the second 'sentence'.

Example 1:
People use 43 muscles when they frown; however, they use only 28 muscles when they smile.

 

Example 2:
However, transition words can also be placed at the beginning of a new paragraph or sentence - not only to indicate a step forward in the reasoning, but also to relate the new material to the preceding thoughts.

Use a semicolon to connect sentences, only if the group of words on either side of the semicolon is a complete sentence each (both must have a subject and a verb, and could thus stand alone as a complete thought).

 

 


 

Further helpful readings about expressions, writing and grammar: Compilation of Writing Tips How to write good   ¦   Correct Spelling Study by an English University

 


 

Are you using WORD for writing professional texts and essays? There are many easy Windows Shortcuts available which work (almost) system-wide (e.g. in every programm you use).

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"I became insane with long intervals of horrible sanity". To what extent can it be argued that torture and insanity are integral elements of The Prussian Officer, The Pit and the Pendulum and The Tell-Tale Heart?

Insanity could be defined as “the state of being mentally ill; madness”, thus it is no surprise that writers such as Edgar Allan Poe and D. H. Lawrence beauteously integrated aspects of insanity into their stories in order to chisel the perfect piece of gothic literature, simultaneously luring the reader in to a world carved by madness and drowned in an eerie atmosphere. Portraying one as insane is a powerful gothic literary device that has been used throughout the era of the gothic, notably in Matthew Lewis' “The Monk” and Horace Walpole’s “The Castle of Otranto”. One way in which writers complement and enhance the insanity of their sadistic characters is through the psychological and mental torture that is often inflicted upon the victims of the novel or story, a prime example being Hindley in Bronte’s “Wuthering Heights”. Although many deemed Edgar Allan Poe as “insane” himself, in the words of C. Chauncey Burr in 1852, “that perfection of horror which abounds in his writings, has been unjustly attributed to some moral defect in the man”; indeed it could be suggested that Poe simply embedded his writing with the “unnatural” to enhance its gothic nature. Lawrence, on the other hand, was perhaps influenced by real life events, as, as stated by Keith Cushman, “the temporal, biographical and cultural context of this short story is connected with Lawrence's stay in Germany in the early summer of 1913.”

Extensive use of repetition within “The Tell-Tale Heart” reflects the sheer extent of insanity; the narrator is undoubtedly psychologically unstable and such madness simply heightens the terror the story inflicts upon the “unfortunate” reader. This is clear in the opening sentence when the narrator says “TRUE! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad?” The enhancement of his insanity is conveyed through the repetition of “nervous” and “very”, which evidently portray his unstable state of mind and thus the likeliness for him to commit such a brutal and sadistic murder. Furthermore, the language and syntax used by Edgar Allan Poe has the ability to lure the reader to believe that the narrator is anxious and uneasy; a character whose insanity shines through his speech. Unlike the narrator of “The Tell Tale Heart”, the narrator of “The Pit and the Pendulum” maintains the capacity to recount faithfully and rationally his surroundings while also describing his own emotional turmoil and the burden of emotional distress does not hinder his account of the event.

Insanity is similarly expressed through repetition whereby the victim of torture expresses “the deepest slumber -- no! In delirium -- no! In a swoon -- no! In death -- no!” The repetition of the word “no!” radiates a feeling of madness as a result of the brutal tribulation to which the prisoner of the Spanish Inquisition is subjected, or perhaps the determination the prisoner has to prevent himself from going insane. "I became insane with long periods of horrible sanity" perfectly defines his state of mind, reflecting that the prisoner extensively dreads the anticipation he is left to endure, anticipation that appears to be far worse than completely losing his mind due to the encroaching insanity. This could, however, be deemed a form of mental entrapment wherein the victim is confined to a certain state of mind. The gothic trope of madness expresses this form of entrapment; the insane are trapped in their own mental universe; a universe which no one else can enter, emphasised to a greater extent when the protagonist says “down -- steadily down it crept…Down -- certainly, relentlessly down…Down -- still unceasingly -- still inevitably down”. The entrapment of characters in gothic literature effectively mirrors the entrapment faced by individuals in the Victorian society; individuals were entrapped as they were forced to repress certain desires in order to observe strict Victorian social decorum whilst working towards an ordered society. Just as Edgar Allan Poe does, D. H. Lawrence uses the literary and language device of repetition in “The Prussian Officer” to express the mild insanity of the Officer that may be present as a result of his pessimistic and mundane life. The Officer not only shows his insanity in his repetition of the sentence “Why have you a piece of pencil in your ear?", but the psychological torture and intimidation that he inflicts on the orderly.

“I do not suffer from insanity, I enjoy every minute of it” - Edgar Allan Poe perfectly defines the opinions of the characters used in “The Tell-Tale Heart”, “The Pit and the Pendulum” and “The Prussian Officer”. The narrator of “The Pit and the Pendulum” appears to thrive off his own insanity, evident in the way that he says “Hearken! And observe how healthily --how calmly I can tell you the whole story”; no sane person could recount for their murderous and torturous actions “healthily” and “calmly”. Furthermore, the way in which he constantly reassures the reader of his sanity ultimately has the counter effect of expressing the insanity which he possesses as shown by his rhetorical questioning of “how, then, am I mad?”, “Ha! would a madman have been so wise as this?” and “If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body”. If the protagonist was in fact sane, why would he feel it were his duty to constantly remind the reader of the fact that he is not “mad”? Further evidence of the narrator “enjoying every minute” of his insanity is notable from the way he claims the reader will “have laughed to see how cunningly I thrust it in!” and how he “smiled gaily, to find the deed so far done.” Enjoyment of insanity is also a gothic element integral to “The Pit and the Pendulum”, however rather than the enjoyment being expressed by the protagonist and victim, it is enjoyed by those enforcing the brutal torture upon him. Evidently, the fact that the torturers appear “thin with the intensity of their expression of firmness” as well expressing “stern contempt of human torture”, they “enjoy every minute” of their insanity. This also plays a pivotal role in “The Prussian Officer” as it becomes apparent that the Officer seeks pleasure in torturing the orderly, thus seeks pleasure in his minor insanity. This is notable when “he had felt at once a thrill of deep pleasure” after brutally attacking the orderly with his belt. Furthermore, after psychologically tormenting the orderly, the Officer expresses a “sickly smile”, showing that his regrets are minimal and he thrives off both his insanity and the discomfort of others.

Torture, “to inflict extreme pain or physical and mental punishment on somebody” often plays a pivotal role in gothic texts; it has the manipulative ability to inflict terror on the reader, much like the victims within the texts themselves face. Since the alleged first gothic novel, The Castle of Otranto, the human body has been a prominent topic of uncertainty, disruption and transgression, such qualities becoming magnified throughout the texts in question, with torture further enhancing the insanity. Those who enforce torturous acts upon the innocent clearly have a degree of insanity whether it be major or minor. The narrator of “The Tell-Tale Heart” provides a fine example for such an analogy as he takes pleasure from psychologically tormenting the old man, evident when he says “it was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.” That the narrator can hear the beating of the old man’s heart suggests the stress and psychological torture that has been inflicted upon him and becomes an inevitable part of his “downfall” due the heart’s weakening. This is further supported as it is clear that “the old man's terror must have been extreme” as the heart beat “grew louder…louder every moment”. However, the beating could also be expressed in a metaphorical sense; a sign of the protagonist’s guilt or, in contrast, his desire to kill, the heartbeat representing his mind encouraging him. The narrator not only lures the old man into psychological torture, but also physical during and after the inhumane murder. The way in which he “dragged him to the floor, and pulled the heavy bed over him” and afterwards “dismembered the corpse” and “cut off the head and the arms and the legs” conveys the idea that torture is a vital component of gothic texts in order to create a sense of terror, despair and disbelief for the reader. This also reinforces the idea of the body being an integral topic of focus within gothic literature, similar to Mary Shelley’s Frankenstein whereby the human body is often conveyed in a disturbing, dehumanising manner as “[Victor’s] limbs were nearly frozen, and his body dreadfully emaciated by fatigue and suffering.”

Edgar Allan Poe adopted a similar strategy of engraving torture into the allegory “The Pit and the Pendulum” in order to intensify the gothic nature of the text which is solely based around the prisoner’s account of torture during the Spanish Inquisition. The text opens to the severe degree of torture the prisoner is facing; he is “sick unto death with that long agony”. Furthermore, the prisoner “felt every fibre in [his] frame thrill as if [he] had touched the wire of a galvanic battery”. “Galvanic battery” suggests immense pain, thus conveying the cruel horrors to which the torturers had previously subjected him. Moreover, it conveys the idea that the actions of the torturers become effectively mechanical and consequently the ‘norm’. Of course, the aspects of torture are of high frequency within “The Pit and the Pendulum” much like they were during the Inquisition; an institution of the Catholic government in fifteenth and sixteenth century Spain that persecuted all Protestants and heretical Catholics. Despite the fact much of Poe’s perception of such historical fact is misrepresented, he transforms the theories into enhanced destruction in his gothic pieces; he thrives off the misrepresentation.

Infliction of pain can also be seen to enhance the story’s gothic qualities. The prisoner states “I trembled at the sound of my own voice, and had become in every respect a fitting subject for the species of torture which awaited me”. Poe’s language Poe, notably the word “species”, alienates the methods of torture and enhances the fact that the prisoner remains distant to what he is facing, disregarding them for what they are and providing the methods with a perhaps “gentle” name in order to blind himself from the cruel reality. The prisoner is also “consumed with intolerable thirst”, suggesting that the torturers lack any form of sympathy; they deprive and weaken him, luring him closer to his demise. He continues to say how “entrapment into torment, formed an important portion of all the grotesquerie of these dungeon deaths”, integrating both the gothic element of torture as well as the traditional implementation of entrapment. This is much like the physical entrapment found in Stoker’s Dracula as, when Harker is driven to Dracula’s castle, he is subjected to physical entrapment in the landscape of Transylvania, as is evident when “[it] seemed to me that we were simply going over and over the same ground again; and so I took note of some salient point, and found that this was so.”

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