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Helping other people in maus.

After reading Maus, a comic book written by Art Spiegelman, I have been asked to present one theme. Therefore, I decided to focus my reflection on all kinds of guilt present in the book as well as in the movie The Schindler List. We may...

• Helping Others

Maus As One Of The Most Prominent Graphic Novels

Maus is the biography of Vladek Spiegelman, who is a Polish surviving Jew from the fields of extermination of the Nazi regime, the story is told through his son Art, a draftsman of comics that wants to leave a memory of the frightening pursuit that...

• Graphic Novel

Post Memory Representation In Maus Novel

Maus, A Survivors Tale, is a graphic novel by Art Spiegelman. He is the second child of two Nazi Holocaust survivors; Vladek and Anja Spiegelman whose story is told through their son in Maus. The text content of the artwork is based on the interview...

Maus: An Extraordinarily Ordinary Man’s Tale Of Survival

Art Spiegelman wrote and illustrated the graphic novel, Maus, in 1980 about his father, Vladek Spiegelman’s, experiences as a Holocaust survivor. The novel depicts the gruesome reality of the terrifying genocide of millions of Jews carried out by the Nazi government during World War II....

The Depiction Of Holocaust In Maus

Maus is a story about the Holocaust written uniquely. Art Spiegelman wrote in a comic book format to tell the story of his father, Vladik’s experience of the Holocaust, and what it was like for Art growing up as the son of a Holocaust survivor....

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Best topics on Maus

1. Helping Other People In Maus

2. Maus As One Of The Most Prominent Graphic Novels

3. Post Memory Representation In Maus Novel

4. Maus: An Extraordinarily Ordinary Man’s Tale Of Survival

5. The Depiction Of Holocaust In Maus

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by Art Spiegelman

Maus themes, familial guilt.

While on its surface Maus is the story of Vladek Spiegelman 's experiences in the Holocaust, it is also much more. In many ways, the relationship between Vladek and his son is the central narrative in the book, and this narrative deals extensively with feelings of guilt. Of particular relevance in Maus is the guilt that is associated with the members of one's family. The primary types of familial guilt can be divided into three separate categories: 1) Art's feelings of guilt over not being a good son; 2) Art's feelings of guilt over the death of his mother; and 3) Art's feelings of guilt regarding the publication of Maus .

The simplest form of guilt in Maus is Art's guilt over the fact that he thinks he has not been a good son to his father. Right from the first panel of Book I, we are told that the two of them do not get along particularly well, and that they do not see each other often, though they live fairly close by. Art is always on edge around his father, and when they speak it feels as if an argument could break out at any moment. Indeed, arguments often do break out over, for example, Art's dropping cigarette ash on the carpet, or Vladek's revelation that he has burned Anja's diaries from the war. Vladek often asks his son for help with errands around the house, and Art is always loath to comply. One of the most prominent examples of this situation occurs at the beginning of Chapter 5 of Book I, in which Vladek awakens his son early in the morning to ask for help fixing a drain on his roof. Art refuses, later telling his wife that he would rather feel guilty than travel to Queens to help his father. A few weeks later, during Art's next visit to his father, this guilt is painfully obvious, as he immediately asks his father if he needs help with any chores.

Art's feelings of guilt over the death of his mother are also relatively straightforward. As told in the brief "Prisoner on the Hell Planet" interlude in Chapter 5 of Book I, Art feels responsible for his mother's suicide, believing it to be a product of his own neglect. His last memory of his mother - in which she asks him if he still loves her, and he responds with a cold and dismissive "sure" - is a painful reminder of this disregard. Though this particular form of guilt does not play a major role in the story, it is noteworthy in that Art feels somewhat similar feelings of guilt towards his father, who is still alive.

After the first volume of Maus is published in 1986, four years after his father's death in 1982, Art is still consumed with guilt. The publication of Maus has not alleviated these feelings, and in some ways it has made them worse. "My father's ghost still hangs over me," Art says before walking to his appointment with Pavel . Pavel suggests that Art may be feeling remorse for portraying Vladek unfavorably. Pavel also suggests, in an interesting reversal, that perhaps Vladek himself felt guilty for having survived the Holocaust. This form of guilt, "survivor's guilt," is detailed in the next section.

Survivor's Guilt

The second form of guilt found in the pages of Maus is more thematically complex. This guilt, called "survivor's guilt," is the product of both Vladek and Art's relationships with the Holocaust. Much of Maus revolves around this relationship between past and present, and the effects of past events on the lives of those who did not experience them (see below). In the cases of both men, this relationship often manifests itself as guilt.

Though Art was born in Sweden after the end of World War II, both of his parents were survivors of the Holocaust, and the event has affected him deeply. In Chapter One of Book II, as Art and Francoise are driving to the Catskills, Art reflects on this in detail, and Art's relationship with the past is revealed to predominantly take the form of guilt: "Somehow, I wish I had been in Auschwitz with my parents so I could really know what they lived through! I guess it's some form of guilt about having had an easier life than they did."

Vladek, too, appears to feel a deep sense of guilt about having survived the Holocaust. As Art's guilt persists through the late 1980s, five years after the death of his father, he visits his psychiatrist, Pavel, and the two discuss the nature of guilt and what it means to be a Holocaust "survivor." Vladek's survival in the Holocaust was not the consequence of any particular skill, but the result of luck, both good and bad. Pavel turns the idea of guilt on its head by suggesting that Vladek himself actually felt a strong sense of guilt for having survived the Holocaust while so many of his friends and family did not. And perhaps in response, Vladek took this guilt out on Art, the "real survivor," as Pavel calls him. In essence, Vladek's guilt may have been passed down to his son, establishing the foundation for the volumes of guilt that Art now feels towards his family and its history.

Past and Present

Maus consists of two primary narratives: one that takes place in World War II Poland, and the other that takes place in late 1970s/early 1980s New York. The relationship between these two narratives - and more generally between the past and present - is a central theme of the story. The events of the Holocaust continue to influence the life of Vladek, a Holocaust survivor, and reverberate through future generations, ultimately affecting his son, Art.

Many of Vladek's peculiar personality traits can be linked to his experiences in the Holocaust. In 1978, Vladek is stubborn, irritable, and almost comically stingy with his money. His relationship with his second wife, Mala, is strained and seemingly devoid of love. Prior to World War II, however, he exhibits none of these characteristics. He is kind, wealthy, and uncommonly resourceful, and his marriage to Anja is filled with compassion and intimacy. His experiences in the Holocaust undoubtedly played a role in these dramatic personality changes.

Once relatively wealthy, Vladek's survival in German-occupied Poland depended on his ability to hoard and save even the smallest of items, such as the paper wrapper from a piece of cheese, or the cigarettes from his weekly rations. These small items took on enormous importance to Vladek, and even many years later, he feels unable to throw anything away. His stubbornness in 1978 can be explained by the fact that he survived the Holocaust largely because he possessed a remarkable intelligence and resourcefulness that enabled him to acquire the necessary food, supplies, shelter, and protection. Now he is much older, but he still thinks of himself as the same young man who could do everything on his own. He still wants to act accordingly, going to such extremes as climbing onto the roof to fix a leaky drain. Still, as Art notes on a few separate occasions, the Holocaust cannot explain everything about his father: "I used to think the war made him this way," Art reflects to Mala, in Chapter Six of Book I, to which she responds that "all our friends went through the camps; nobody is like him!" Vladek has clearly never fully recovered from the horrors of the Holocaust. This fact is poignantly illustrated by his final words of the story, when he mistakenly calls Art by the name of his first child, who died during the war.

Though Art was born in Sweden after the war and did not experience the Holocaust firsthand, his life has also been deeply affected by these unspeakable events. To begin with, Art is directly affected by secondary "aftershocks" of the Holocaust, in that Vladek's personality and parenting style were clearly influenced by these events, and Art's personality and lifestyle choices were in turn clearly guided by his father's personality and parenting style. Art describes a specific instance of this transmission to his wife:

[Vladek] loved showing off how handy he was... and proving that anything I did was all wrong. He made me completely neurotic about fixing stuff...One reason I became an artist was...it was an area where I wouldn't have to compete with him.

Art is also affected by the past in less direct ways. To begin with, he feels almost completely consumed by the horrible specter of the Holocaust. As a child, he sometimes fantasized that the showers in his house would spew gas instead of water, and he would often ask himself which parent he would save if he could have only saved one from Auschwitz (he usually picked his mother). In many ways, he feels guilty about the fact that his parents were forced to live through Auschwitz, whereas he was born after it ended, into a far more comfortable and easy life.

The relationships between past and present are often illustrated graphically within the context of the story. The most vivid representation of this concept occurs at the beginning of Chapter Two of Book II, in which Art is sitting at his drawing board above a sprawling pile of dead and emaciated Jewish mice.

The primary motivation amongst Jews in the Holocaust is survival. Vladek sums up the process succinctly while consoling his wife after the death of his first son, Richieu: "to die, it's easy...but you have to struggle for life." Vladek's experiences in the Holocaust represent a constant struggle to survive, first as his factory and income are taken away, then as the Jews are sent into the ghettos, and ultimately in the nightmare of Auschwitz. And as the struggle intensifies, the will to survive begins to break the strong bonds of family, friendship, and a common Jewish identity.

In the initial stages of German occupation, these measures are relatively small - buying food on the black market, for example - and strengthened by strong family ties, a unified Jewish identity, and even altruism. When Vladek arrives home from the prisoner of war camp, for example, an old business acquaintance, Mr. Ilzecki , helps him earn money and acquire the proper work papers that will allow him to walk the streets in relative safety. As the situation continues to deteriorate, however, Vladek, his family, and his friends are forced to resort to increasingly extreme measures in order to survive. Here, the bonds of Jewish identity begin to break under the pressing instinct to survive. The first sign of this comes in the form of Jews serving on a Jewish Police force, like the ones who came to Vladek's apartment to escort his wife's grandparents to the concentration camps. According to Vladek, these Jews thought that by helping the Nazis in taking some of the Jews, perhaps they could help save others - and of course they could also save themselves. Soon after, the bonds of family also begin to break, as illustrated by Vladek's cousin Haskel's refusal to save them from transport to Auschwitz without some form of payment. Though Haskel eventually does help Vladek and Anja escape, he ultimately decides not to help Anja's parents, and they are sent off to their deaths.

The bond between Vladek and Anja remains solid throughout most of the story, as they first hide together in the barns and back rooms of Sosnowiec and are ultimately sent to neighboring concentration camps. In the camps, Vladek and Anja are both preoccupied with their own survival, but Vladek is also able to help his wife by giving her extra food and emotional support. Soon, though, the Russians advance upon Auschwitz and Birkenau, and the couple is unavoidably separated. Vladek is hurried on a long, forced march through snow-covered woods to packed railway cars where there is no food or water for days. In telling this story to his son, Vladek does not mention Anja again until right before their eventual reunification in Sosnowiec. Unable to help those around him, and unable to help his wife, he is left only with his own stubborn will to survive.

The importance of luck is closely related to discussions of survival and guilt (see above). Vladek is blessed with many skills and qualities - including the ability to speak multiple languages - that provide him with opportunities to survive within the confines of Auschwitz. Ultimately, however, Vladek's survival and the survival of all other Holocaust survivors hinges upon luck. On countless occasions throughout Vladek's Holocaust ordeals, his life is spared only by the narrowest of margins: the near-miss bullet at the prisoner-of-war camp in Lublin; the run-in with the Gestapo while carrying ten kilograms of illegal sugar; the night Mrs. Motonowa forces him and Anja out of her house; the case of typhus at Dachau; and many, many other incidents. No matter how resourceful Vladek is, no matter how many languages he knows or jobs he can perform, he cannot ultimately save himself from the horrors of the Holocaust. Rather, the matter of his life and death ultimately depends upon a long line of chance outcomes, most of which happen to fall his way. The rest of his family, including his parents and five siblings, are not so lucky. Pavel, Art's psychiatrist, suggests that this idea may have contributed to a strong sense of guilt in Vladek for having survived the Holocaust while so many of his friends and family did not.

Race and Class

Unsurprisingly, given the subject matter, issues of race and class figure heavily in the plot, themes, and structure of Maus . At the most basic level, issues of race play themselves out on the grand scale of the Holocaust, a terrible culmination of senseless racism that is drawn and described in all its brutality and efficiency. But Maus also deals with these issues in other, more subtle ways, through the use of different animal faces to portray different races.

In Maus , Jews are portrayed as mice, while Germans are portrayed as cats. The metaphor of Jews as mice is taken directly from Nazi propaganda, which portrayed the Jews as a kind of vermin to be exterminated. The cat/mouse relationship is also an apt metaphor for the relationship between the Nazis and Jews: the Nazis toyed with the Jews before ultimately killing them.

The decision to portray different races as different kinds of animals has been criticized as over-simplistic and for promoting ethnic stereotypes. Beneath the simple metaphor, however, is an earnest attempt to illustrate the unyielding stratification by class and race that was very much a part of life in World War II-era Poland. Within the pages of Vladek's story, the Jews are rarely seen socializing with the non-Jewish Poles, except in cases where the Poles serve as janitors, governesses, or other household assistants. The idea of stratification and classification is best illustrated by the man in the concentration camp who claims that he is German, not Jewish, and who is ultimately taken aside and killed. When Art asks his father whether the man was really a German, Vladek replies, "who knows...it was German prisoners in there also...But for the Germans this guy was Jewish." There were no shades of gray within the German system of racial classification. Indeed, this middle ground is so rare within the pages of Maus that the only instance of mixed marriage ( Shivek 's brother, who married a German woman) comes as quite a shock, especially when we see their children, who are drawn as cat/mouse hybrids.

This, however, is not the only form of racism that exists within the pages of Maus . One of the most interesting aspects of the story is the fact that Vladek, who survived the horrors of the Holocaust, is himself a racist. When Francoise picks up an African-American hitchhiker on their way back from the grocery store, Vladek can hardly contain his anger that she has let a "shvartser" into the car and spends the whole ride home watching his groceries to make sure they aren't stolen. This episode serves as a reminder that the racism of the Holocaust survives in other forms to this day.

Just as the animal metaphor is an attempt to explain an existing social stratification, other aspects of the story seem to suggest that this stratification is a manufactured illusion. This is most clearly illustrated in opening pages of Chapter Two of Book II, which take place after the publication of the first book of Maus . In this narrative, Art Spiegelman is clearly having doubts about the animal metaphors that form the backbone of the story. Here, people are still characterized by animals based on race, but these characterizations are now clearly only masks that have been tied to their heads with a bit of string. Thus the idea of race is only an artifice, Spiegelman suggests, and underneath the masks we are all essentially the same.

MAUS Questions and Answers

The Question and Answer section for MAUS is a great resource to ask questions, find answers, and discuss the novel.

Page 32, “Right away, we went.” Where are Vladek and Anja going and why?

Right away, we went. The sanitarium was inside Czechoslovakia, one of the most expensive and beautiful in the world.

Anja, Vladek's wife and Spiegelman's mother, went to a sanatorium in Czechoslovakia in 1938.

Vladek wants to go to Hungary in order to escape the danger and uncertainty of his life, as well as Anja's. Hungary represents hope and safety.

The visual device used to show the difference betweem Vladek and Anja is that Anja has a tail protruding from under her coat, a detail that emphasizes her Jewish identity.

Study Guide for MAUS

MAUS study guide contains a biography of Art Spiegelman, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• MAUS Summary
• Character List

Essays for MAUS

MAUS essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of MAUS by Art Spiegelman.

• Stylistic Detail of MAUS and Its Effect on Reader Attachment
• Using Animals to Divide: Illustrated Allegory in Maus and Terrible Things
• Father-Son Conflict in MAUS
• Anthropomorphism and Race in Maus
• A Postmodernist Reading of Spiegelman's Maus

Lesson Plan for MAUS

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to MAUS
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• MAUS Bibliography

Wikipedia Entries for MAUS

• Introduction
• Primary characters
• Publication history

• study guides
• lesson plans
• homework help

The Complete Maus Essay Topics & Writing Assignments

Essay Topic 1

Write a character sketch of the author based on his style and content. What values does he hold dear? What are his hopes and fears? What kind of person do you think he is? Anchor your sketch in passages in the book.

Essay Topic 2

What is missing from this book? What should have been covered or presented that was not? What is the effect of this absence? Describe an element that ought to have been covered, and explain why it would have made the book stronger.

Essay Topic 3

Where is the climax of this book? Are there different climaxes? What questions does each climax resolve? What questions does each climax leave unanswered?

Essay Topic 4

Evaluate your own reading of Maus—did you resist it, or were you compelled by the story? What does your reading tell you about yourself and your interests? Use specific examples from...

(read more Essay Topics)

FOLLOW BOOKRAGS:

Jewish Experience in «Maus» by Art Spiegelman Essay

Introduction, ambivalence, reference list.

Published in 1991 and written by Art Spiegelman, the MAUS is a book that provides the account of the author’s effort of knowing his Jewish parents’ experience, following the Holocaust as well as their survival in U.S. It gives a picture of the difficult affiliation between the author and his parents where he stands as a survivor of this as well. This tale is presented in the form of a conversation between the author and Vladek – his father.

In a humorous manner, Spiegelman employs animals to represent characters. For instance, dogs represent the Americans while reindeers represent Swedes, among others. The setting of this interview is a large area ranging from New York through Germany to Sweden, a style that enables the writer to give a broad picture of the mass destruction during the World War II while at the same time he shows the nature of relationships in his family prior and after the war.

The author uses characters like Vladek Spiegelman-Art’s father, Anja-Vladek’s wife, Art- Vladek’s son, among others, all of whom are survivors of the holocaust, either direct or indirect. The concept of ambivalence stands out clearly in the book through the various relationships provided. For instance, Vladek’s ambivalence towards his son, Art, is clear as explained in the following paragraph.

Ambivalence is no more than the disagreement of ones feelings towards another person or a thing. This person may simultaneously portray both the positive and negative views towards another. The novel is rich in this concept. For example, Vladek is the father to Art. He loves him but he is unable to show it off.

This case is seen when Art, who has been playing with his friends accidentally falls. Art cries of pain and rushes towards his father for assistance.“…until he has spent five days locked in a room with a group of people and no food, he cannot know the meaning of the word friends” (Spiegelman, 1991). These are the father’s comments to his son. Vladek ought to act like a loving parent by soothing his son to stop crying as well as nursing his pain. From the response, it is not clear whether he loves his son or not.

Whether he said this to make his son laugh rather than cry or whether he said this out of ignorance is not determined. Moreover, he is willing to converse with his son. In fact he narrates to him about his origin as well as that of their family. But the way he addresses some questions is wanting.

When Art enquires about the dairies, Vladek does not hesitate in giving his weird answers. “I looked in, but I don’t remember” (Spiegelman, 1991). These answers fail to classify Vladek’s feeling towards Art. He has a diverse feeling towards his son and this is no more than ambivalence. Art’s feelings towards his father are also strained and uncertain too.

Art portrays an all-round relationship with his father. This is apparent because he entirely relies on him for the account of his own story. He frequently visits him at his yard. Following the suicide of his mother, Art declares that his father is a murderer (1991).

In addition, when Vladek feels dizzy, he demands the assistance of Art who in turn fails to rescue him. Based on these issues, it is not clear whether Art has positive or negative feelings towards his father. Paying him frequent visits and abusing him portray two opposing feelings, showing how he is unsure towards his father.

Another uncertainty stands out between Vladek and his own self. It is apparent that all people love themselves and Vladek is not an exception. When he is visited by Art, he is found putting in place a variety of pills. From their conversation, Vladek posits that in order to be strong, he ought to fight for his own salvation. Art’s healers posit that Vladek has a guilty sensation following his surviving in the holocaust.

This makes it vague of the kind of feelings he has for his own self and hence ambivalent. Moreover, in another dialogue between Vladek and Art, neither of the two understands the feelings of the other as Art enquires about the holocaust. Vladek has a real experience of the scenario unlike Art. Art cannot understand the feelings of his father in relation to the episode because he (Art) was not there as it occurred.

On the other hand, Vladek is unable to identify his son’s feelings towards him because the two do not relate in the sense that the scenario happened in the presence of one and not both. Therefore the two are ambivalent towards each other. The relationship between Vladek and Anja is also ambivalent as expounded below.

Anja meets with Vladek and her boyfriend. They stay together in this relationship until they marry. This shows that Anja loves Vladek because of this evident willing to stay together as husband and wife. However, Anja has another boyfriend, whom she also loves. It is thus unclear of whether Anja is truly in love with Vladek or the other boy. This identifies her as ambivalent towards Vladek. Vladek on the other hand accepts to marry Anja.

Following the incidence where Anja’s friend was arrested, Vladek opts to terminate his marriage with Anja. When Anja gives birth to Richieu, their first child, she is taken to a high class hospital where she is well-nursed by Vladek until she recovers. Vladek’s conduct of nursing and ending of their marriage, as depicted here are opposite. Whether he is a real loving husband or not fails to be clear basing on this, hence ambivalent towards Anja. The connection between Vladek and his own father is undefined as well.

In their dialogue, Vladek explains to Art that he was almost intentionally starved to death by his father. He adds that he was even denied sleep. This followed from a plan between him (father) and his army, which sought to absorb Vladek as a soldier. Vladek tells his father not to repeat that again implying how mistreated he felt, though he becomes a soldier later. Based on this, his stance as a father, behind this scenario is not defined. His feelings towards his son are no more than ambivalent.

The concept of ambivalence is well developed in the book. However, it is worthy noting that this concept has some attached functions. For instance, it functions to maintain one’s undefined state which is, to some extend, important. In the book, it has played a crucial role in the represented relationships. For instance, if Art hated his father, he would not have gotten the material for his book. If he loved him, he would have rescued him when he was ailing.

In addition, Anja’s ambivalence towards Vladek places her in a position better that she can be if she sticks to either of the two. If Vladek leaves her as he says, Anja will join her other boyfriend. If that is not the case, she is still safe. This shows how ambivalence plays an adaptive role in this relationship since Anja can adapt whichever outcome of her marriage. These, among other illustrations, depict ambivalence as a tool that serves some crucial functions, as discussed above.

Spiegelman, A. (1991). Maus: A Survivor’s Tale: And Here My Troubles Began. New York: Pantheon.

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IvyPanda. (2019, October 23). Jewish Experience in «Maus» by Art Spiegelman. https://ivypanda.com/essays/art-spiegelman-maus/

"Jewish Experience in «Maus» by Art Spiegelman." IvyPanda , 23 Oct. 2019, ivypanda.com/essays/art-spiegelman-maus/.

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1. IvyPanda . "Jewish Experience in «Maus» by Art Spiegelman." October 23, 2019. https://ivypanda.com/essays/art-spiegelman-maus/.

Bibliography

IvyPanda . "Jewish Experience in «Maus» by Art Spiegelman." October 23, 2019. https://ivypanda.com/essays/art-spiegelman-maus/.

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Home — Essay Samples — Literature — Maus — The Themes of Suffering and Survivor’s Guilt in Maus

The Themes of Suffering and Survivor's Guilt in Maus

• Categories: Maus Suffering Survival

About this sample

Words: 1927 |

10 min read

Published: Jun 29, 2018

Words: 1927 | Pages: 4 | 10 min read

• Geis, D. R. (Ed.). (2003). Considering Maus: Approaches to Art Spiegelman's" Survivor's Tale" of the Holocaust. Tuscaloosa: University of Alabama Press. (https://api.dmd.uconn.edu/files/4667271-considering-maus-approaches-to-art-spiegelman-s-su-pdf)
• Gavrilă, A. M. (2017). Holocaust Representation and Graphical Strangeness in Art Spiegelman’s Maus: A Survivor’s Tale:“Funny Animals,” Constellations, and Traumatic Memory. Acta Universitatis Sapientiae, Communicatio, (4), 61-75. (https://www.ceeol.com/search/article-detail?id=834992)
• Costello, L. A. (2006). History and Memory in a Dialogic of" Performative Memorialization" in Art Spiegelman's" Maus: A Survivor's Tale". The Journal of the Midwest Modern Language Association, 39(2), 22-42. (https://www.jstor.org/stable/20464185)
• Kohli, P. (2012). The memory and legacy of trauma in Art Spiegelman's Maus. Prandium: The Journal of Historical Studies at U of T Mississauga, 1(1). (https://jps.library.utoronto.ca/index.php/prandium/article/view/16285)
• De Leon, D. (2020). ‘My Father Bleeds History’: Survivor’s Guilt and Filial Inadequacy in Art Spiegelman’s Maus: A Survivor’s Tale and EL Doctorow’s The Book of Daniel. (https://qmro.qmul.ac.uk/xmlui/handle/123456789/69145)

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In Art Spiegelman's graphic novel "Maus," the use of symbolism plays a crucial role in conveying the complex themes of the Holocaust and its aftermath. From the use of animals to represent different groups of people to the [...]

Art Spiegelman's graphic novel "Maus" is a groundbreaking work that utilizes animal allegory to tell the story of the Holocaust. The novel depicts Jews as mice, Germans as cats, and Poles as pigs, providing a unique perspective [...]

While Art sits at his drawing board, a pile of emaciated Jewish bodies lies below him, seemingly unnoticed while reporters and businessmen climb over them (II.41). These bodies represent the grave nature of Art’s subject matter, [...]

Today, most Americans can only imagine what the horrors of the Holocaust must have been like - and, to be frank, they are probably very glad that they have no personal experiences to draw on. However, the Holocaust, and other [...]

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Art Spiegelman

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The Holocaust and the Responsibility of its Survivors

Art Spiegelman , the author and narrator of Maus , is the child of two Polish Holocaust survivors: Vladek , his father, and Anja , his mother. Following a long estrangement from Vladek following Anja’s unexpected death in 1968, Arthur — called Artie by many close to him — has decided to collect his father’s memories of the Holocaust and narrate them in a series of cartoons. The Holocaust, which occurred between 1941 and 1945…

Family, Identity, and Jewishness

While his interviews with Vladek keep a tight focus on the war, Artie ’s parallel narrative of recording those interviews and writing Maus considers the multitude of ways in which the war continues to influence Vladek in his old age, and shapes Artie’s relationship both with his father and with his own Jewish identity.

Reverberations of the Holocaust are visible in almost every aspect of Vladek’s life and character, and so have a profound impact…

Grief, Memory, and Love

Vladek tells Artie that he has spent years trying to rid himself of memories of the war and the Holocaust, but he recounts his story in remarkable detail, recalling the names and eventual fates of almost every person who crossed his path during those years. Though his descriptions are straightforward and unflinching, he has clear emotional reactions to many of the events about which he speaks — he cries when he remembers four of his…

Guilt, Anger, and Redemption

In addition to being a narrative of war and survival, Maus is, in large part, a chronicle of Artie ’s efforts to understand his father despite the fractured bonds between them. Their difficult relationship bears marks of tragedies that have shaped them — the devastation wrought by the Holocaust, and the trauma of Anja ’s suicide — but their troubles are also a product of their basic human shortcomings, their native selfishness and neuroticism. Artie…

Death, Chance, and Human Interdependence

The ghettos, cattle cars, and concentration camps through which Vladek and Anja move during the war are filled with death, most of which is a result of random and senseless violence. Though the Nazi regime is sometimes calculating about which people it will murder — as when Vladek’s sister Fela , whose four children are considered an unnecessary drain on the state’s resources, is sent to her death during a mass registration of Jewish families…

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Maus: A student’s essay, written with my assistance

The Complete Maus shows that the  Holocaust experience affects the next generation as much as it affects the people who lived through it. Do you agree?

In his comic story, Maus, Pulitzer prize winner Art Spiegelman writes about his parents’ experiences in Nazi Germany. Spiegelman uses various interview and graphic-style techniques to capture the horror of the Nazi “experiment” whereby up to 6 million Jews were killed in gas chambers in concentration camps. Whilst Vladek and Anja both survived, they were psychologically scarred. Throughout the interviews with his father, Vladek, and his father’s narrative recounts, Spiegelman reveals the extent of  their trauma which inhibits family life and relationships. The emotional and psychological divide between Art and Vladek is further tarnished by the deaths of Richieu and Anja.  The father’s development of a variety of obsessive neuroses also become another burden in the father-son relationship.

Throughout the graphic novel, Spiegelman  depicts a variety of emotional and communication barriers, which he suggests may have originated from Vladek’s Holocaust experiences.  Vladek constantly offers parental advice to Art that is often based on his experiences as a symbolic mouse in pinstriped pyjamas and yet this advice leads to, rather than, solves many of their interpersonal problems. Such emotional barriers, which appear to affect each of the men differently, are foregrounded in the ‘Prologue’. After Art was deserted and humiliated by his friends whilst rollerskating on the street, his father tells him unsympathetically and dismissively,  “Friends? Your friends? If you lock them together in a room with no food for a week … then you could see what it is, friends!” Vladek continues to saw the piece of  wood, suggesting that he is always fixing something, as he did during his war-time experiences. He doesn’t appear to be paying much attention to Art which reinforces his emotional indifference. This is a typical moment when Vladek views friendship through the lens of  life-and-death actions,  and he dismisses Art’s eight-year-old problems. In turn, he makes Art’s problems seem insignificant compared to his own. From Vladek’s perspective, his emotional detachment from his son, which could be a coping mechanism developed from his war experiences, alienates him from his son. From Spiegelman’s perspective, he does not find the psychological solace that he is searching.

Whilst Vladek appears indifferent and detached, Art appears to suffer from Vladek’s constant comparison between his father’s monumental, and his own insignificant, life experiences.  This comparison reinforces the barriers between each and exacerbates the emotional distance.  It is evident that Art agonises over these moments during his childhood, because later in Spiegelman’s typical question and answer style interview, he admits to his psychologist, Pavel, who is also a Czech Jew and a survivor of Auschwitz, that “mainly I remember arguing with him and being told that I couldn’t do anything as well as he could… No matter what I accomplished it doesn’t seem like much compared to surviving Auschwitz.”  Owing to Vladek’s tendency to belittle Art’s experiences, Art constantly feels as though he will never impress his father and develops feelings of inferiority. IN his own way, Vladek appears to inflate the significance of his own experiences in a bid to overcompensate for the fact that for most of his life he was degraded by the Nazis.  As Pavel says, “Maybe your father needed to show that he was always right — that he could always survive — because he felt guilty about surviving”.  The symbolic depiction of the demoralised Jews as vulnerable and powerless mice that are tortured by the vicious cat captures Vladek’s sense of  impotence and despair.  From Vladek’s perspective, this sense of impotence is, inadvertently, displaced onto his son. From Art’s perspective, he ironically, feels belittled, much as the father was and neither can overcome their distance.

It is evident in Maus that Vladek is constantly haunted by a sense of survivor guilt.  It is also apparent that the father transfers this guilt onto Art, which surfaces in both direct and indirect ways. As a consequence, this guilt exacerbates the psychological barriers between then and leads to displaced and thwarted emotions. As Pavel tells his patient,  if Vladek survives, 6 million Jews were killed, and this has resulted in constant anxiety. In  one comic caption, Pavel states, “Because he felt guilty about surviving … he took his guilt out on you, where it was safe…on the real survivor.” (p 204). Graphically, Art depicts Vladek’s guilt by using a palimpsest technique, which is a literal graphical bleeding from past to present, This technique  reveals Vladek’s displaced anxiety. For example, in a panel, where the family is driving back from the supermarket after attempting to return the unfinished box of special K, Vladek recalls the deaths of the four girls who were scapegoated for their subversion. This frame shows the literal blend of time zones. In the frame, Art and Francoise are in the car listening to Vladek’s recount. In the same frame, there is an image of four sets of legs hanging from a tree which presumably belong to Anja’s four friends who “blew up a crematorium”. Spiegelman graphically suggests that Vladek is scarred by the horror of his past and it is this horror that leads to numerous psychological problems.

(In another depiction, four pairs of legs are also dangling from a rope.  In this case, Nahum Cohn and his son, who traded goods without a coupon, hang from the scaffold.  Vladek suggests that such assistance was critical to his survival and yet it led to the deaths of others. Spiegelman uses an eight-frame page consisting of a five-frame present-time overlay. In the above frame, the four mice, dressed in suits,   “hanged there for one full week”. Vladek’s  prominent caption refers to the tactics of intimidation used by the “cats”  to scare the “mice” into submission.  In the bottom frame, Spiegelman uses the image of legs hanging in mid air to give an impression that anyone who subverted the system would suffer a similar fate. In doing so, Spiegelman enhances the image of the dead Jews and the brutality of the cats that continues to haunt both father and son.)

Furthermore, Vladek’s guilt often surfaces in a variety of neurotic compulsive behaviours and these interfere with his ability to be a good father.  Because of these behaviours, he cannot connect on an emotional level with his son.  Vladek is neurotic about food, disease, death and profligacy. He compulsively organises his pills, seeks to save every penny, and fixes everything through his own abilities. Vladek refuses to hire anyone to fix household problems. Spiegelman suggests that his entrepreneurial skills were the reason he stayed alive in the labour camps. Vladek also believes that he survived because ‘I saved   “Ever since Hitler I don’t like to throw out even a crumb”. In a humorous way, this reinforces the stereotype of the stingy Jew. Mala says,” it causes his physical pain  to part with money”. In a revealing retort, Vladek adamantly states: “I cannot forget it” which sums up his attitude to most daily life occurrences. He simply cannot forget the stress of experiences such as staying in  Mrs Motonowa’s cellar, sleeping with rats and living off candy for three days. They learned to be “happy even to have these conditions.” Whilst Spiegelman sets up the stereotypical miserly Jew for ridicule, there is a sense that readers can truly understand the basis of Vladek’s neuroses which are constantly displaced. Art believes that he must bear the brunt of these disorders which make it almost impossible for Art to have a normal and calm relationship with his father.

Spiegelman depicts many second generation holocaust survivors struggling with the agony of loss experienced by their traumatised parents. Many parents are paralysed by grief,  and their suffering and agony interfere with their parenting abilities.  In Art’s case, he is swamped by Anja’s and Vladek’s grief for their lost son, Richieu. Spiegelman depicts Art’s jealousy and insecurity that are a consequence of  a perverse type of sibling rivalry with his deceased “ghost” brother. Richieu died at age “five or six” during the holocaust by swallowing a poisonous pill given to him by a desperate carer, Tosha,  who feared death in the gas chambers. Spiegelman refers to a large, “blurry” photograph that hangs above Art’s parents’ bed.  The caption states, “It’s spooky having sibling rivalry with a snapshot!” During a rare conversation with Francoise in the car,  Art divulges his vulnerability and his position of disadvantage: “The photo never threw tantrums or got into any kind of trouble…it was an ideal kid and I was a pain in the ass. I couldn’t compete.”

Not only does Art feel inferior to his sibling; Spiegelman also suggests that Art, much like Vladek, is suffering from his own perverse form of survivor guilt.   In a forlorn and an indignant tone he also anticipates his parents’ disappointment, “He’d have become a doctor, and married a wealthy Jewish girl..the creep”. Vladek inadvertently refers to Art as Richieu in the final frame of the graphic novel. “I’m tired from talking, Richieu, and it’s enough stories for now.”  This reveals the extent of Vladek’s continued sadness. The unbordered gravestone of Anja and Vladek at the end also serves as a memorial to the Jewish victims,  Art suggests that Richieu’s death also contributes to Anja’s suicide and the complicated and suffocating emotions between mother and son.

The experiences of the holocaust also traumatised Art’s mother Anja which creates emotional problems between mother and son.  These emotions surface in different ways for each of them. Feeble and distraught at the loss of Richieu, Anja emotionally strangles Art as she fears losing another son.  As a consequence, Art stifles his own emotional response towards his mother, which leads to guilt. The darkness and horror of “Prisoner on the hell planet” reveals that Art feels as though he should have done more to keep his mother alive.. The word ‘Hell’ in the title instils a feeling of dread. The ghost-like thriller of the large black monster and the abstract drawings of the skull and the bony hands depict Art as the hideous victim of a grisly perfect crime story.  In a  clever role reversal, Spiegelman depicts Vladek as a heartbroken victim, weeping on the floor, which shows his ghostly horror at the fact that he has failed to fulfil his promise to Anja that “you’ll see that  together we’ll survive”.  This is also despite the parallel narrative of the love story. Vladek’s eyes are black and large and there are no pupils. Art wears the pin-striped Jewish prisoner uniform which features prominently in the graphics related to the concentration camp.  It also shows the beginning of Art’s and Vladek’s psychological distance towards each other, compounded by the guilt of the mother’s suicide.  As an incensed Art says, “I was expected to comfort HIM”  Art becomes paranoid that every guest and friend thought it was his fault. Art was always resentful of how Anja ‘tightens the umbilical cord’. It is apparent that Anja does this because she does not wish to lose another son. However, Art constantly resists her love. He says, ” Well mom, if you’re listening … congratulations! … you’ve committed the perfect crime.” Graphically, Art’s hand grasps the door of an enormous cage as he accuses the mother of placing him in an impossible emotional situation: “You put me here…shorted all my circuits…cut my nerve endings…and crossed my wires!…you murdered me mommy and you left me here to take the rap!!!” Anja’s death, then, also exacerbates the emotional distance between Vladek and Art which is based on guilt.

In Maus, Spiegelman leaves readers in no doubt that the children of the holocaust survivors continue to suffer from the displaced trauma of their parents. Many children  experience and encounter similar struggles. Throughout his discussions with his father, Art seeks to uncover the burden and the pain that Art continues to carry, and which is passed onto his son.  This trauma affects Vladek’s ability to be a loving and supportive father and he fails to provide the emotional support for which Art yearns. Finally, The Complete Maus highlights the way second generation holocaust survivors struggle with trauma, the agony of loss and the depression and displaced anxiety which haunts their parents.

Return to Maus: Notes by Dr Jennifer Minter, English Works

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Maus Essay Prompt & Rubric

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This resource includes an end-of-unit essay prompt for Maus by Art Spiegelman. The prompt connects to the unit's essential questions (Are humans selfish or unselfish? Good or evil?) and also requires students to incorporate outside sources into the essay. Links to non-fiction texts that students can incorporate in their essays are included. Note that the prompt can be used if students have read one or both parts of Maus .

A grading rubric is also included.

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5 facts about americans and sports.

Many Americans participate in sports in some way, whether they play, cheer on their favorite teams or gamble on outcomes.

Ahead of March Madness – the annual men’s and women’s college basketball tournaments – here are five facts about Americans’ experiences with and interest in sports, drawn from Pew Research Center surveys.

Ahead of this year’s NCAA Division I basketball tournaments, Pew Research Center explored Americans’ experiences with and interest in sports.

This analysis is based on recent Center surveys. Links to these surveys, including information about the field dates, sample sizes and other methodological details, are available in the text.

About half of Americans (48%) say they took part in organized, competitive sports in high school or college, according to a February 2022 Center survey . This includes 39% who participated in high school, 2% who participated in college and 7% who participated at both levels.

Men are more likely than women to say they played high school or college sports (56% vs. 41%).

There are also notable age differences among women: Adults under 50 are more likely than their older counterparts to have played high school or college sports (48% vs. 33%). These age differences among women may be partly due to Title IX , which became law in 1972. The law prohibits schools that receive federal funding from discriminating based on sex – including in the athletic opportunities they provide.

Most Americans who played sports in high school or college say their athletic experiences improved their physical health and confidence, according to the same survey. Some 82% of adults who played sports say doing so had a very or somewhat positive impact on their physical health, including 46% who say it had a very positive impact. And 79% say playing sports had a positive impact on their confidence or self-esteem, with 38% saying it had a very positive impact.

A smaller share of these Americans say playing sports had a positive impact on their job or career opportunities. Still, the share who say this far outpaces the share who say it had a negative impact (44% vs. 3%).

In all three areas – physical health, confidence and job opportunities – former college athletes are more likely than former high school athletes to say that playing sports had a very positive impact.

Nearly four-in-ten Americans (38%) follow professional or college sports at least somewhat closely, according to a 2023 Center survey . This includes 16% who follow sports extremely or very closely. And 7% of U.S. adults are what might be called “superfans”: They follow sports extremely or very closely and talk about sports with other people at least daily.

About seven-in-ten Americans who follow sports at least somewhat closely say a major reason they do so is to cheer for a specific team or teams (71%) or to be entertained (69%). Much smaller shares say a major reason is to cheer for a specific player or players (32%), because someone in their family follows sports (23%), or for one of the other reasons included in the survey.

Still, a majority of Americans (62%) say they follow sports not too or not at all closely. Among this group, 69% say a major reason they don’t follow sports is that they’re just not interested.

When asked to choose one sport as “America’s sport,” more than half of U.S. adults (53%) choose football, according to the same survey . Another 27% say it’s baseball, while 8% pick basketball, 3% pick soccer, 3% choose auto racing and 1% choose hockey.

Football is the most common choice in every major demographic group, but there are some differences by race and ethnicity. For example, White Americans are more likely than those in other racial and ethnic groups to say baseball is America’s sport. Hispanic Americans are more likely than others to pick soccer, and Black and Asian Americans are more likely to choose basketball.

In a July 2022 Center survey , 19% of Americans said they had bet money on sports in the past year. This includes betting with friends and family, in person at a casino or other gambling venue, or online with a betting app. Men, adults under 50, and Black and Hispanic adults were particularly likely to say they’d bet on sports in the previous year.

The survey was conducted more than four years after the Supreme Court effectively  legalized commercial sports betting in the United States . Most adults (57%) said the legalization of sports betting in much of the country was neither a good nor bad thing for society, while 34% said it was a bad thing. Only 8% said it was a good thing.

Despite the widespread availability of commercial sports gambling today, betting rarely motivates people to follow sports , according to our 2023 survey. Among those who follow sports at least somewhat closely, 83% say betting is not a reason for doing so. Another 12% say betting is a minor reason they follow sports, and just 4% say it’s a major reason.

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By a wide margin, Americans say football – not baseball – is ‘America’s sport’

Among black adults, those with higher incomes are most likely to say they are happy, about 1 in 10 restaurants in the u.s. serve mexican food, striking findings from 2023, most popular.

About Pew Research Center Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping the world. It conducts public opinion polling, demographic research, media content analysis and other empirical social science research. Pew Research Center does not take policy positions. It is a subsidiary of The Pew Charitable Trusts .

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The Value of Bonds

Maus begins with Vladek telling a young Art that friendship is fickle. This echoes a similar sentiment that he shares with Anja when they meet in the concentration camps: “They just worry about getting a bigger share of your food” (216). However, the bonds Vladek builds before and during the war play a key role in his survival.

The most prominent is the bond between Vladek and Anja. Their relationship faces multiple tests even before the war: his ex-girlfriend’s sabotage attempt, Anja’s association with the communist group, and her postpartum depression. Vladek takes these issues seriously and even leaves his job to stay with her in Czechoslovakia. While in hiding, it is he who goes out for food to protect Anja from discovery, and he arranges to appease Anja’s kapo and move her closer to him. While there are rifts—Anja’s refusal to place Richieu into hiding earlier and Vladek’s insistence about the smuggling plan both prove disastrous—their love for each other is crucial to their survival. As Anja tells him, “Just seeing you again gives me strength (216).

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Prompt engineering embraces new essay-compression technique that expands on getting very constructive generative ai results.

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Handy new prompt engineering technique to do compression on essays and other text is examined and ... [+] showcased as being quite useful.

In today’s column, I am continuing my ongoing coverage of prompt engineering strategies and tactics that aid in getting the most out of using generative AI apps such as ChatGPT, GPT-4, Bard, Gemini, Claude, etc. The focus here is on a brand-new prompting approach that enables you to cleverly compress essays and other text-based narratives. This is a handy technique that ought to be in your prompting best-practices toolkit.

For my in-depth comprehensive guide on over thirty other keystone prompting strategies, see the link here .

Here’s the essence of today’s discussion.

One of the most popular uses of generative AI entails creating summaries of entered text, see my prior coverage on prompting strategies for summarization at the link here and also the chain-of-density technique (CoD) at the link here . The deal is this. You might have a lengthy document that needs a helpful summary covering the crucial points so that you don’t have to wade through a convoluted textual morass. The simplest prompt to achieve a summary will merely tell the AI to go ahead and summarize the material. Boom, you are done, or so it seems.

The problem is that the summary might not be very good. Odds are that the generative AI might omit points that a human would have realized are vital to include in a summary. There is also a significant chance that the source material will be interpreted rather than carried straight ahead into the summary. Loosey-goosey interpretations of what was said in the source could be way off base.

Into this realm comes the act of compression.

Rather than producing a summary that might veer from the source, you can ask to do a compression. The idea of compression is that the source is reduced in size by a thinning process, but no adaptations or rephrasing takes place. You are still seeing the same words that were in the source. A thinning process is undertaken to try and keep just the needed meat on the bones conveying the crux of the source material.

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Ukraine has developed 15 kinds of long range strike drone and has sortied them against russia s oil industry, the walking dead the ones who live episode 5 review another massively disappointing episode.

To clarify, compression is not a silver bullet. Issues about compression can arise. For example, it is conceivable that as generative AI thins out a source text, some key points might inadvertently get weaned out. Another possible issue is that the resulting compressed text might seem nearly unreadable or incomprehensible. The words removed that might have seemed inconsequential by the AI were possibly integral to the intelligible reading of the text.

The bottom line is that anyone proficient in the use of generative AI should know both techniques by heart, freely welding the best ways to do prompting that encompasses summarization and astute prompting that does compression. You can then wisely decide which approach befits a given circumstance. Sometimes you pull out the hammer of summarization, and other times you reach for the screwdriver of compression. They are two distinct tools that require suitable handling and must be selected for the appropriate situations.

A frequent question I get during the prompt engineering classes that I teach is whether summarization is better than compression, or whether compression is better than summarization. This always brings a smile to my face. The conveyed conundrum is a false choice. None is especially better than the other in the abstract. Each provides a set of benefits and drawbacks. I don’t think you can in the abstract make a solid case that a hammer is better than or worse than a screwdriver since the situation at hand dictates as such. The same goes for summarization versus compression.

Okay, now that we’ve got that foundation established, there are already various recommended ways to word a prompt to do summarizations and compressions. A recent research study explored the topic and proffered a prompt for compression that they extensively tested and found to be quite useful. I will walk you through their research efforts and results.

I opted to try out the compression prompt by doing some of my own testing as a mini-experiment using ChatGPT and GPT-4. This allows you to see the compression prompting in action. I will discuss the matter and aim to arm you with how to suitably use the clever technique.

Before we get into the specifics of this new compression technique, it would be useful to make sure we are all on the same page about the nature and importance of prompt engineering.

Let’s do that.

The Nature And Importance Of Prompt Engineering

Please be aware that composing well-devised prompts is essential to getting robust results from generative AI and large language models (LLMs). It is highly recommended that anyone avidly using generative AI should learn about and regularly practice the fine art and science of devising sound prompts. I purposefully note that prompting is both art and science. Some people are wanton in their prompting, which is not going to get you productive responses. You want to be systematic leverage the science of prompting, and include a suitable dash of artistry, combining to get you the most desirable results.

My golden rule about generative AI is this:

• The use of generative AI can altogether succeed or fail based on the prompt that you enter.

If you provide a prompt that is poorly composed, the odds are that the generative AI will wander all over the map and you won’t get anything demonstrative related to your inquiry. Similarly, if you put distracting words into your prompt, the odds are that the generative AI will pursue an unintended line of consideration. For example, if you include words that suggest levity, there is a solid chance that the generative AI will seemingly go into a humorous mode and no longer emit serious answers to your questions.

Be direct, be obvious, and avoid distractive wording.

Being copiously specific should also be cautiously employed. You see, being painstakingly specific can be off-putting due to giving too much information. Amidst all the details, there is a chance that the generative AI will either get lost in the weeds or will strike upon a particular word or phrase that causes a wild leap into some tangential realm. I am not saying that you should never use detailed prompts. That’s silly. I am saying that you should use detailed prompts in sensible ways, such as telling the generative AI that you are going to include copious details and forewarn the AI accordingly.

You need to compose your prompts in relatively straightforward language and be abundantly clear about what you are asking or what you are telling the generative AI to do.

A wide variety of cheat sheets and training courses for suitable ways to compose and utilize prompts has been rapidly entering the marketplace to try and help people leverage generative AI soundly. In addition, add-ons to generative AI have been devised to aid you when trying to come up with prudent prompts, see my coverage at the link here .

AI Ethics and AI Law also stridently enter into the prompt engineering domain. For example, whatever prompt you opt to compose can directly or inadvertently elicit or foster the potential of generative AI to produce essays and interactions that imbue untoward biases, errors, falsehoods, glitches, and even so-called AI hallucinations (I do not favor the catchphrase of AI hallucinations, though it has admittedly tremendous stickiness in the media; here’s my take on AI hallucinations at the link here ).

There is also a marked chance that we will ultimately see lawmakers come to the fore on these matters, possibly devising and putting in place new laws or regulations to try and scope and curtail misuses of generative AI. Regarding prompt engineering, there are likely going to be heated debates over putting boundaries around the kinds of prompts you can use. This might include requiring AI makers to filter and prevent certain presumed inappropriate or unsuitable prompts, a cringe-worthy issue for some that borders on free speech considerations. For my ongoing coverage of these types of AI Ethics and AI Law issues, see the link here and the link here , just to name a few.

All in all, be mindful of how you compose your prompts.

By being careful and thoughtful you will hopefully minimize the possibility of wasting your time and effort. There is also the matter of cost. If you are paying to use a generative AI app, the usage is sometimes based on how much computational activity is required to fulfill your prompt request or instruction. Thus, entering prompts that are off-target could cause the generative AI to take excessive computational resources to respond. You end up paying for stuff that either took longer than required or that doesn’t satisfy your request and you are stuck for the bill anyway.

I like to say at my speaking engagements that prompts and dealing with generative AI is like a box of chocolates. You never know exactly what you are going to get when you enter prompts. The generative AI is devised with a probabilistic and statistical underpinning which pretty much guarantees that the output produced will vary each time. In the parlance of the AI field, we say that generative AI is considered non-deterministic.

My point is that, unlike other apps or systems that you might use, you cannot fully predict what will come out of generative AI when inputting a particular prompt. You must remain flexible. You must always be on your toes. Do not fall into the mental laziness of assuming that the generative AI output will always be correct or apt to your query. It won’t be.

Write that down on a handy snip of paper and tape it onto your laptop or desktop screen.

Using Special Prompts Including Chain-of-Density

There is a slew of somewhat remarkable prompt phrases that are essential for anyone seriously doing prompt engineering. One such phrase involves telling generative AI to work on a stepwise basis, something commonly known as invoking chain-of-thought responses by the AI, see my coverage at the link here . Another popular ploy entails telling the AI to take a deep breath, see my analysis of this prompt at the link here . One of the latest favorites involves commanding the AI to take on a Star Trek consideration when devising an answer, see my discussion at the link here .

I previously covered in my writings the various prompts that are particularly suited for getting summaries of text that you might provide to generative AI. Summarizing text is a very common use of generative AI. You can simply paste a whole bunch of text into generative AI and get a pretty good summary of the text. That being said, summaries can diverge from the original content and potentially contain misleading or even outright incorrect summarized content, see my analysis at the link here .

In short, summarizing can be risky due to the generative AI opting to rephrase the original content. The rephrasing might fail to depict the proper meaning and intention of the source content. Envision using summarization on doctor’s notes via generative AI, which is then handed to a different physician and they only have the summary at their purview, see my exploration of these matters at the link here .

Thus, a conventional summarization could be disturbingly problematic.

There is a method of devising summaries that use a prompting strategy that aims to bolster generative AI toward attaining especially superb or at least better than usual kinds of summaries. The technique is known as chain-of-density (CoD). Anybody versed in prompt engineering ought to become familiar with this insightful technique. Consider chain-of-density as not only helpful for producing summaries but there are a lot of other benefits garnered by understanding how the technique works and how this can power up your overall prompting prowess all-told.

For my detailed coverage of the chain-of-density prompting technique, see the link here .

Allow me a moment to share some of those elicitations with you here.

When you are trying to craft a summary, you often might do so in a series of successive attempts. Your first shot might be to craft a summary that has only a few of the biggest points that need to be included. After considering the initial draft, the odds are that you might further refine the summary by adding more elements to it. This can go on and on. Depending on how thorough you are, you might do a handful or more of these refining iterations. Each iteration can be construed as a chain of iterative summaries, one leading to the next for a given instance of trying to write a summary.

That’s the “chain” part of this process.

Let’s add some further terminology to describe the summary-making effort.

A summary typically starts as somewhat sparse when you first toss it together. There isn’t much of any substance in the summary. You are usually seeking to further pack substance into the summary and do so while fighting the length of the summary. The more substance that you can jam into the summary, the higher the density of the summary.

We can give a name to the substance by saying that we are trying to identify important “entities” within the original content. Those entities might be facts or figures. The entities are said to be anything especially instrumental to the overall meaning of the original content. A hope is to carry over as many of the demonstrative entities as feasible into the summary.

Your summary-making process then is to iteratively devise a summary by starting with a sparse version and then adding more and more entities or substances to increase the density until you reach some desired or suitable end-state. The series of iterations acts as a chain. Each is used to connect to the next. You usually will retain the entities from one version to the next version, and be decidedly adding more of the entities available in the original as you seek to jampack the summary accordingly.

Reflect on the adage of putting five pounds of rocks into a three-pound bag.

Maybe you put one pound of rocks into the three-pound bag at the initial attempt. The bag is considered sparsely populated. There is still room to spare. The density is low. You then put a second pound of rocks into the bag. The density is increasing. The sparseness is lessening. Finally, you put in a third pound of rocks. You have hit the maximum density and the sparseness has presumably dropped to near zero.

Suppose that the bag can be elongated.

Wonderful, you exclaim, being overjoyed at having more available space. Imagine though that you are going to hand the bag over to someone else. The larger and heavier the bag, the less useful it becomes. The same applies to summaries.

A rule of thumb is that you want to minimize the length or size of the summary, meanwhile maximizing the summarization content. The two factors are often in contention with each other. You are tempted to increase the length to get more substance included. The length being increased will potentially undercut that the summary is supposed to be a summary.

A person might seemingly just go ahead and read the original content if the summary approaches the size of the original material being summarized. The summary isn’t especially a summary anymore at that juncture. Indeed, sometimes a summary turns out to be longer than the original content that is supposedly being summarized.

How can this be, you might be thinking?

The answer has to do with being extractive versus being abstractive.

During the summarization process, you are looking at two possibilities of the content being carried over into the summary. First, you aim to be extractive, primarily extracting key aspects and shoveling those into the summary. Second, you might at times be abstractive, whereby you go beyond the words themselves of the original content and begin to reinterpret or perhaps elaborate beyond what the summary per se has to say.

A purely extractive summary is more likely to be construed as a fair and balanced reflection of the original content. You are not changing things up. You are only carrying the essentials (entities) over into the summary. The problem with an abstractive summary is that you are potentially changing up things and will be biasing or in some manner altering the meaning found within the original content being summarized. The danger is that this kind of summary is no longer seen as fair and balanced, and instead is based on the perceptions and opinions of the summarizer.

In a sense, if you want an unadorned straightforward summary, you are better off with an extractive summary. If you want an adorned or embellished summary, that goes beyond the words presented in the original source, you might seek an abstractive summary. The thing is, the abstractive summary might no longer be an apt reflection of the original source. That is also how the summary might become longer than the original since the embellishments can possibly increase the size of things and you could find yourself looking at a summary that is much longer than the source used for the summary.

Focusing On Compression As An Extractive Form Of Summarization

The usual parlance when you want a strictly extractive form of summarization is to say that you want a compression of your text.

I should warn you though that the word “compression” means different things to different people. Some are willing to be abstractive when doing a compression. Others would be aghast at someone veering into an abstractive mode when doing what they consider to be a rightfully done compression. To them, compression must be stridently adherent to not rewording any aspect of the source text being used.

I will be showing you in the next section some examples of using prompts related to asking generative AI to do compression. You will immediately see that the word “compression” is relatively ambiguous to most generative AI apps. They might interpret the word to imply purely extractive, but more likely they will assume this means to be abstractive. You will need to nail down in detail what you want the AI to do. I will show you this.

What else should you be thinking about when it comes to doing compression in generative AI?

I am glad you asked.

A recent research study entitled “LLMLingua-2: Data Distillation for Efficient and Faithful Task-Agnostic Prompt Compression” by Zhuoshi Pan, QianhuiWu, Huiqiang Jiang, Menglin Xia, Xufang Luo, Jue Zhang, Qingwei Lin, Victor Rühle, Yuqing Yang, Chin-Yew Lin, H. Vicky Zhao, Lili Qiu, Dongmei Zhang, arXiv , March 19, 2024, made these salient points (excerpts):

• “This paper focuses on task-agnostic prompt compression for better generalizability and efficiency.”
• “We formulate prompt compression as a token classification problem to guarantee the faithfulness of the compressed prompt to the original one, and use a Transformer encoder as the base architecture to capture all essential information for prompt compression from the full bidirectional context.”
• “Recent years have witnessed the emergence of various prompting techniques for large language models (LLMs), such as Chain-of-Thought (COT), In-context Learning (ICL), and Retrieval Augmented Generation (RAG). These techniques empower LLMs to handle complex and varied tasks through rich and informative prompts that may exceed tens of thousands of tokens.”
• “However, the benefits of such lengthy prompts come at a cost of increased computational and financial overhead, as well as the degraded information perception ability of LLMs. Prompt compression is a straightforward solution to address these issues, which attempts to shorten the original prompts without losing essential information.”

I’d like to explain some of those notable points to you.

First, one ongoing consideration is whether a compression prompt is written to be task-specific or task-agnostic.

A task-specific prompt is worded to fit a particular task at hand, such as if you were doing a compression of medical notes and you wanted the prompt to emphasize particular characteristics associated with medical lingo. The prompt is devised for that domain.

A task-agnostic prompt is broader and allows you to use it in a wide variety of circumstances. It is always best to have in your tool chest a task-agnostic prompt since you can use it on a generalized basis, plus you can tweak the wording for task-specific settings. The aim of the above research study was to focus on task-agnostic prompts for compression, which is handy for our purposes herein.

Second, we often speak of compression prompts as hopefully being faithful to the source material.

Faithfulness refers to the notion that the compression tries to retain crucial wording and not goof by removing something that will substantively undercut the meaning. Imagine that a sentence said “Do not cook for more than two minutes” and the compression lopped out the word “not”, leading to this compressed version of “Do cook for more than two minutes”. Ouch, your souffle might be ruined by your having used an unfaithful compression.

Third, an aspirational aim of compression is to be bidirectional, allowing that besides going from the source to a proper compressed version, you potentially can use the compressed version to get back to the source. This is not necessarily the case and opens quite a can of worms. Not everyone needs or expects to be able to return to the full source.

Fourth, it is worthwhile to note frequent circumstances whereby compression really shines.

Suppose that you are importing a ton of text into generative AI, see my explanation of importations prompting strategies at the link here . Or maybe you are using in-context modeling and relying on an external source of text, doing so via the use of RAG (retrieval augmented generation), see my discussion at the link here . And so on.

An important question that comes up is whether it is sensible to bring in the whole ball of wax or whether to try and somehow shorten what you need to bring in.

If you bring in a massive amount of text, you are fighting against the potential limits of generative AI. Those limits can severely degrade the results of the AI trying to cope with the text overload. You also have to consider potential costs. If you are paying for the use of generative AI, the longer-sized text is bound to be a costlier charge than if you could thin it down. Likewise, the servers used to compute the generative AI actions will consume more computational cycles and you will get a double whammy on cost.

I am sure that you immediately discern that a potential solution would be to compress the content, thus, you don’t have to confront the technical limits of the generative AI and might be able to keep your costs lower too. Whenever you are considering bringing into generative AI any large-scale body of text, please have alarm bells go off in your head that tell you to consider doing either compression or summarization. You will be glad that you considered the option.

Returning to the above research study facets, let’s see what they did and the results they found (excerpts):

• “We conduct extensive experiments and analysis on both in-domain (i.e., MeetingBank) and out-of-domain datasets (i.e., LongBench, ZeroScrolls, GSM8K, and Big Bench Hard).” (ibid).
• “Despite being small in size, our model shows significant performance gains over strong baselines and demonstrates robust generalization ability from GPT-3.5-Turbo to Mistral-7B.” (ibid).
• “Additionally, our model is 3x-6x faster than existing prompt compression methods, while accelerating the end-to-end latency by 1.6x-2.9x with compression ratios of 2x-5x.” (ibid).

You can see that they were able to attain some impressive results.

I especially applaud research on generative AI that includes multiple generative AI apps. I say this because each generative AI app differs from the other, ergo if a study exclusively uses only one generative AI app it is hard to claim that the same approach will work equally well on other generative AI apps. Here, it is good news for us that they tried different generative AI apps and essentially found similarly positive results.

I am sure you are eager to see an example of what their compression prompt was able to achieve.

Here is one such example from their study, in this case compressing a meeting transcript snippet from a database of such transcripts (excerpt):

• Original Text: “Item 15, report from City Manager Recommendation to adopt three resolutions. First, to join the Victory Pace program. Second, to join the California first program. And number three, consenting to the inclusion of certain properties within the jurisdiction in the California Hero program. It was emotion, motion, a second and public comment. CNN. Please cast your vote. Oh. Was your public comment? Yeah. Please come forward. I thank you, Mr. Mayor. Thank you. Members of the council. My name is Alex Mitchell. I represent the hero program. Just wanted to let you know that the hero program. Has been in California for the last three and a half years.”
• Compressed Text: “Item 15, City Manager Recommendation adopt three resolutions. Join Victory Pace program. Join California first program. Consent inclusion properties jurisdiction California Hero program. Emotion, motion, second, public comment. Cast vote. Public comment? Come forward. Alex Mitchell, represent Hero program. Hero program in California three half years.”

The original text has 109 words, while the compressed text has 46 words. The compression removed 63 words (that’s 109 words in total minus 46 words remaining = 63 words removed). You could say that roughly 58% of the source was removed (i.e., 58% of 109 is about 63). Well over half of the source has been removed.

Now comes the tough part.

Does the compressed version suitably capture the crux of the original text?

Has anything been removed that is essential and thus the compressed version has missed the boat?

I think you can likely see how hard a problem it is to do a proper compression if you try doing the same task yourself by hand. Here’s what I am saying. I want you to look at the original text and try to compress it. What would you remove? What would you leave in? How far can you go on this process, yet still ensure that the result has the needed points and is intelligible?

A twist involves settings where the original text itself is not necessarily that intelligible. A transcript is a great example of a thorny problem. The odds are that a transcript will contain filler words and utterances. Are they worthy of being retained or should those be removed? If you exhort it is obvious to remove the utterances, the issue there is that the tenor or tone of what was said could end up being removed. Perhaps that aspect is vital to comprehending the matter.

Besides deciding whether a compression has done a good job, you might also be wondering whether there is even more compression that can be performed.

Envision that we use a compression that does a good job and reduces the size of the source to half in size. But along comes a better approach that can do the same job and achieve a three-quarters reduction in size. Assuming that all else is equal, you would naturally seek to use the three-quarters reduction approach.

This can be tricky to compare. The greater the compression in terms of reducing the size, the more likely the odds that the compression isn’t going to be as intelligible or otherwise isn’t as apt. The criteria are usually battling with each other. The more reduction, the less of a good job in the sense of being usable and appropriate. The more of a good job you want, the less reduction you can usually achieve. Darned if you do, darned if you don’t.

The Compression Prompt As A Task-Agnostic Template

Congratulations, you have waded through the weeds to get to the crescendo.

Let’s see what the prompt template of their task-agnostic compression prompt consists of (excerpt):

• “System Prompt: You are an excellent linguist and very good at compressing passages into short expressions by removing unimportant words while retaining as much information as possible.”
• “User Prompt: Compress the given text to short expressions, such that you can reconstruct it as close as possible to the original.”
• “Unlike the usual text compression, I need you to comply with the 5 conditions below:”
• “1. You can ONLY remove unimportant words.”
• “2. Do not reorder the original words.”
• “3. Do not change the original words.”
• “4. Do not use abbreviations or emojis.”
• “5. Do not add new words or symbols.”

-“Compress the original aggressively by removing words only. Compress the original as short as you can, while retaining as much information as possible. If you understand, please compress the following text: {text to compress}”

I will be using that same prompt in a moment when I show you examples using ChatGPT and GPT-4.

Let’s briefly review the prompt and see what it contains.

First, the prompt tells the generative AI to invoke a persona. For my extensive coverage of personas in generative AI, see the link here and the link here . This is a powerful prompting technique.

Personas get the AI into a computational pattern-matching mode that can significantly aid whatever task you are trying to perform. In this instance, they are telling the AI that it is to pretend to be an excellent linguist and good at compressing passages of text. Nice touch.

Many users of generative AI fail to lean into personas when doing so would be especially advantageous. The use of a persona for amping up compression is a good move. Make sure to keep personas in your mind whenever using generative AI. You’ll be glad that you did.

Second, they provide five stipulated conditions for the compression. This is good since you want to provide as much guidance as you can when asking for a compression. I mentioned earlier that the word “compression” can be ambiguous. Spelling out the five stated conditions will give the AI important clues about what to do.

Third, the phrasing for AI that you use in a prompt ought to at times be emphatic. If you aren’t emphatic, the instructions might be ignored or downplayed. For example, telling the generative AI to aggressively do the compression is a means of guiding the AI toward doing a strident job. I should note that your being emphatic has a downside. The emphatic wording, if it goes way over the top, can trigger a mathematical and computational pattern-matching storm that will distract from what you are trying to undertake.

I believe that sufficiently outlines the keystones of the prompt. Just like buying a new car, we need to take this shiny new vehicle for a drive. Get yourself strapped in and ready for a wild ride.

Showcasing The Topic Via Examples In Generative AI

I will next proceed to showcase what happens when you use compression prompting while in a conversation with generative AI. I am going to use ChatGPT and GPT-4 to showcase my examples. ChatGPT and GPT-4 are sensible choices in this case due to their immense popularity as generative AI apps. An estimated one hundred million weekly active users are said to be utilizing ChatGPT and GPT-4. That’s a staggering number.

A few quick comments before we launch into using ChatGPT and GPT-4.

If you are going to try to do the same prompts that I show here, realize that the probabilistic and statistical properties will likely produce slightly different results than what I show here. That’s the nature of generative AI and how it is devised.

You also should expect that different generative AI apps will respond in different ways. Not all generative AI apps are the same. The key is that sometimes a particular prompt will work in one generative AI app and not another. You will need to undertake a series of trial-and-error attempts to ferret this out.

There is also the timing factor. A prompt that worked today might not work the same way tomorrow. Most of the generative AI apps are continually being updated. The updates might alter internal facets that could change how the AI reacts to your prompting.

We are ready to get underway and I will begin with ChatGPT.

You can do the same in whichever generative AI app that you are using.

As a heads-up, I decided to use Abraham Lincoln’s famous Gettysburg Address as the text that I wanted to have compressed. There are variations of his speech that can be readily found online. I opted to use a version that contains 271 words. Our aim in this mini-experiment will be to do a compression and see if we can reduce the size, along with retaining intelligibility and vital points.

I’m sure that you already know the speech, which starts this way “Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure…”

Here we go.

• My entered prompt into ChatGPT: “I want you to compress an essay that I am going to give you. Are you ready?”
• ChatGPT generated response: “Yes, I'm ready to help compress your essay. Please provide the essay, and I'll assist you in condensing it.”
• My entered prompt into ChatGPT: “Here is the text of the Gettysburg address. Go ahead and compress it.”
• ChatGPT generated response: “Abraham Lincoln's Gettysburg Address, delivered during the American Civil War, reflects on the nation's founding principles of liberty and equality. He honors those who sacrificed their lives on the battlefield, emphasizing the ongoing responsibility to preserve freedom and uphold democratic government. Lincoln urges dedication to the unfinished task of ensuring the nation's survival and the continuation of its principles, emphasizing the importance of honoring the fallen and ensuring their sacrifice was not in vain.”

Take a look at the so-called compression that I got.

You right away certainly observed that the generated response is not a compression. It is more of a summary. Well, maybe not quite a summary either. It has indications that go beyond the text that was provided. This likely was tapped into by ChatGPT as per other prior data training about Abraham Lincoln and the Gettysburg Address in general during the initial setup of ChatGPT.

I’m glad this happened. You see, I wanted to show you this kind of an example to emphasize my earlier point that the word “compression” can be ambiguous. This was not the kind of compression I had in mind.

If at first, you don’t succeed, try and try again, as they say.

• My entered prompt into ChatGPT: “Let’s start over. I want you to compress the material. You are to use only the material provided and compress the contents. Don’t make any interpretations. Don’t do any rewording.”
• ChatGPT generated response: “Understood. Please provide the material you'd like me to compress, and I'll follow your instructions accordingly.”
• My entered prompt into ChatGPT: ”Here is the text to be compressed…”
• ChatGPT generated response: "87 years ago, our fathers founded a nation dedicated to liberty and equality. Now, in a great civil war, we honor those who sacrificed for our nation. It's fitting to dedicate this ground, yet their deeds surpass our words. We must continue their work, ensuring their sacrifices were not in vain. Let us resolve to uphold freedom and democratic government.”

I valiantly tried to convey to ChatGPT that I wanted a compression.

Though the result is more so a compression than the first run, it still isn’t a compression of the caliber we are looking for. One irksome thing was the “87 years ago” which is a kind of summary or interpretation of what the source says. Didn’t want that.

But I am somewhat pleased that the result came out badly because it shows that even if you try to be instructive about compression, the result still might not come out as hoped for. I think we are primed and ready to see if the compression prompting template will do any better with ChatGPT.

Are you ready to see?

Hold your breath.

• My entered prompt (based on the research prompt template): “You are an excellent linguist and very good at compressing passages into short expressions by removing unimportant words while retaining as much information as possible. Compress the text I am going to give you and compress the text into short expressions, and such that you (ChatGPT) can reconstruct it as close as possible to the original. Unlike the usual text compression, I need you to comply with 5 conditions. First condition: You can ONLY remove unimportant words. Second condition: Do not reorder the original words. Third condition: Do not change the original words. Fourth condition: Do not use abbreviations or emojis. Fifth condition: Do not add new words or symbols. Make sure to compress the original text aggressively by removing words only. Compress the original text as short as you can, while retaining as much information as possible. Do you understand these instructions?”
• ChatGPT generated response : “Yes, I understand the instructions. Please provide the text you'd like me to compress.”
• My entered prompt: ”Here is the text to be compressed…”
• ChatGPT generated response: “Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in Liberty, dedicated to the proposition that all men are created equal. Now engaged in a great civil war, testing whether that nation, or any nation so conceived and dedicated, can long endure. We are met on a great battle-field. We have come to dedicate a portion of that field, a final resting place for those who gave their lives. It is fitting and proper that we should do this. But, in a larger sense, we cannot dedicate, consecrate, hallow this ground. The brave men, living and dead, who struggled here, consecrated it. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living to be dedicated to the unfinished work they who fought here have nobly advanced. It is for us to be dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause—that we highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish.”

Finally, we got a compression.

We are now in the right ballpark.

The compressed result has 217 words.

The original text has 271 words, while the compressed text has 217 words. The compression removed 54 words (that’s 271 words in total minus 217 words remaining = 54 words removed). You could say that roughly 20% of the source was removed (i.e., 20% of 271 is about 54). Approximately one-fifth was removed.

I dare say that’s not a compression ratio to be overly elated about. Look, I’m glad that we got the 20%, and I don’t like to look a gift horse in the mouth. It would seem intuitively we might be able to do better.

Note that the prompt doesn’t give a target level of compression. This is something you might consider adding to the prompt. I would first start without a target and just see what you get. Once you’ve seen the result of a first run, go ahead and consider redoing the prompt with a desired target level.

We must also of course consider whether the compressed version is any good at the get-go.

In the case of something like the Gettysburg Address, we could argue forever about the portions that were removed. It is tough since the entire speech is remarkable. Nearly every line and each word is astounding. Imagine trying to compress a poem, and the odds are that you will be leaving out facets that will break your heart.

Another reminder is that you should carefully consider what text you are going to compress and whether the compression, no matter how it works, will be able to reasonably do justice to the original text.

I went ahead and played with the compression prompt template and tried all kinds of variations. In the end, I decided that ChatGPT just doesn’t have the gravitas to go much further on this. I became exasperated and thought that for sure GPT-4, being more advanced than ChatGPT, would do a better job.

Let’s try using GPT-4 and see what happens.

• ​​ My entered prompt into GPT-4: “I want you to compress an essay that I am going to give you. Here is the text to be compressed…”
• GPT-4 generated response:

“To compress the text while retaining its essence, I'll remove some parts and rephrase others for brevity.”

"Four score and seven years ago, our fathers founded a new nation on this continent, dedicated to liberty and the belief that all men are created equal. We are now in the midst of a great civil war, testing whether this nation, or any nation so conceived, can endure. We meet on a battle-field of that war, dedicating a part of it as a final resting place for those who gave their lives for this nation's survival. It's fitting and proper we do this.

“Yet, we can't dedicate, consecrate, or hallow this ground beyond what the brave men, living and dead, who struggled here have done. The world may not remember our words, but it can't forget their deeds. It's our task to be dedicated to the unfinished work they've advanced so nobly. From these honored dead we take increased devotion to their cause, resolving that these dead shall not have died in vain, that this nation shall have a new birth of freedom, and that government of, by, and for the people shall not perish."

“The compressed text has been reduced to 176 words.”

End of GPT-4 response

You can see that I first tried a vague prompt about compression.

Sure enough, the compression included rephrasing, which isn’t what I had in mind. No problem. You can’t expect generative AI to be reading minds (well, you soon can, as I explain is being researched, see my coverage at the link here ).

Similar to what I had done with ChatGPT, I will next try a compression prompt based on some simple wording. I will also include a target level of compression so you can see how that impacts the result.

Here’s what took place.

• My entered prompt into GPT-4: “Do the compression over again. You cannot do any rephrasing this time. You can only remove words. Compress as much as possible while abiding by these rules. Try to aim for a result that has 100 words or less.”

“To compress the text by only removing words without rephrasing, I'll select key sentences and phrases that capture the essence of the original message while significantly reducing the length. Given the constraints, this selection process aims to preserve the core themes of unity, dedication, and the importance of the struggle while adhering to the word count limit.”

"Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. It is for us the living, to be dedicated to the unfinished work which they who fought here have thus far so nobly advanced."

“The condensed version of the text is approximately 99 words in size while adhering to the rule of only removing words without rephrasing.”

Seems like GPT-4 did what I asked.

As always, it is important to gauge the intelligibility and aptness of the compression. I won’t delve into that here, other than to say it seemed basically on par with what might be expected, especially given the severe constraint of being around 100 words or less.

We are ready to try the compression prompt template.

• My entered prompt into GPT-4 (based on the research prompt template): “You are an excellent linguist and very good at compressing passages into short expressions by removing unimportant words while retaining as much information as possible. Compress the text I am going to give you and compress the text into short expressions, and such that you (ChatGPT) can reconstruct it as close as possible to the original. Unlike the usual text compression, I need you to comply with 5 conditions. First condition: You can ONLY remove unimportant words. Second condition: Do not reorder the original words. Third condition: Do not change the original words. Fourth condition: Do not use abbreviations or emojis. Fifth condition: Do not add new words or symbols. Make sure to compress the original text aggressively by removing words only. Compress the original text as short as you can, while retaining as much information as possible. Do you understand these instructions?”
• GPT-4 generated response : “Yes, I understand the instructions. Please provide the text you'd like me to compress.”
• My entered prompt into GPT4: ”Here is the text to be compressed…”
• GPT-4 generated response: “Four score seven years ago fathers brought forth continent, new nation, conceived Liberty, dedicated proposition men created equal. Now engaged great civil war, testing whether nation, any nation conceived dedicated, can long endure. Met great battle-field war. Come dedicate portion field, final resting place who gave lives nation might live. Altogether fitting proper do this. But, larger sense, can not dedicate—not consecrate—not hallow—ground. Brave men, living dead, struggled, have consecrated, above our power add detract. World will little note, nor long remember say here, but never forget did here. For us living, rather, dedicated here unfinished work fought have nobly advanced. Rather for us here dedicated great task remaining before us—that from these honored dead take increased devotion cause gave last full measure devotion—that here highly resolve dead not died in vain—that nation, under God, shall new birth freedom—and government people, by people, for people, shall not perish earth.”

Note that I didn’t give a target level this time and thus the size of the result was based on the general tenor of the compression prompt about being aggressive on the compression.

The original text has 271 words, while the compressed text has 156 words. The compression removed 115 words (that’s 271 words in total minus 156 words remaining = 115 words removed). You could say that roughly 42% of the source was removed (i.e., 42% of 271 is about 115). We were nearing maybe half being removed. Remarkable.

I’ll mention that as always, we would want to closely scrutinize the compressed version. All the other caveats I’ve mentioned still apply.

My recommendation to you is that you try doing some compression prompting exercises via whichever generative AI app you are customarily using. Do so now, before you suddenly discover the need to do a compression. It would be wise to be prepared.

Proceed as follows. First, make use of vague compression prompts and see what happens. Next, fine-tune those prompts and look anew at what happens. Then, try the mentioned compression prompt and gauge how it goes for you. Tweak the prompt as needed. Keep on practicing until you feel you’ve gotten the right swing of things. Reward yourself accordingly.

A final thought for now on this matter.

John Morley, 1st Viscount Morley of Blackburn, the famed British statesman, and journalist, said this about compression: “The essence of a quote is the compression of a mass of thought and observation into a single saying.”

Compression is not an easy task. Any wanton approach can easily do compression if you are willing to toss intelligibility and aptness out the window. Getting generative AI to do erstwhile compression requires soundness on the part of the person entering the prompts. They also need to carefully review the result and not wantonly hand off the compressed version to others who might be unaware of what the original had to say.

Please remember that I energetically asked you to consider practicing doing compressions in generative AI, so that when the day arrives that you must do so, you are ready with the axe firmly in hand.

The last line today suitably goes to Abraham Lincoln: "Give me six hours to chop down a tree and I will spend the first four sharpening the ax."

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