Go ahead and tilt your mobile the right way (portrait). The kool kids don't use landscape...
Before you read this A+ essay by one of LSG's tutors, Risini, make sure you've read our Extinction blog post covering themes, characters, and more!
In a play that tackles issues ranging from conservation to human indulgence and morality it can be difficult to write a well-structured and detailed response to what usually seems like an existential topic (just like the one below). And not to mention the challenge of including all four characters in your essay without the stale character-based approach. So, below is an example of a high scoring essay with tips on how you can elevate the quality of your response to get those extra points!
In this essay, you'll see Risini has offered annotations throughout her essay to show you her thinking. If you find this helpful, then you might want to check out our Extinction: A Killer Text Guide where we cover 5 A+ sample essays (written by a 50 study scorer!) with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.
Rayson’s play is about our propensity as humans to make questionable decisions despite our moral convictions.
Introduction
Mankind’s ambition to improve and develop as human beings distinguishes themselves from their bestial, primal instincts (1). However, Hannie Rayson’s play Extinction, explores the complexities threaded throughout the human condition that propel individuals towards the ethically ambiguous (2). Rayson examines the the insecurities peppering the contemporary lifestyle, that threaten the integrity of our outward ideologies (3). Similarly, Rayson explores our indelible connection with nature that leads individuals to pursue baser impulses. Ultimately however, Rayson captures the strength of the human capacity to align our moral convictions with our judgements (4).
*Annotations
(1) This play tackles humanity and its flaws, so beginning with a broad, conceptual sentence is a good way to ease into discussion.
(2) Addressing topic.
(3) Agreeing with the topic.
(4) Challenging the topic. Indicating Rayson’s play isn’t only about questionable decision making, it is also about people’s ability to make the morally right decisions.
Paragraph 1
In spite of people’s outward conformity to their moral values, Rayson captures the power of human insecurities to compromise their values (5). It is the birth of moral dilemmas from such insecurities, that prompts questionable decision-making (6). Dixon-Brown, who exercises a pragmatic ideology as fortified by her Dixon-Brown Index and classifies the tiger quolls as “functionally extinct”, leaves her insecure and longing for meaningful connection and companionship (7). Indisputably, Harry Jewell’s charming exterior and sensitivity offers to fill Dixon-Brown’s emotional chasm, but also offers a moral dilemma for Dixon-Brown: to fill this chasm, or uphold her professional integrity. Dixon-Brown’s pursuit of “illicit professional compromise” with Harry, as a result of her moral dilemma, distorts her moral stance, now considering tiger quolls as simply “hard to find” and “shy”. Rayson (8) challenges the integrity of people’s moral values, demonstrating how one’s emotional hunger can outweigh even their own moral expectations. Like Dixon-Brown, Piper (9) values her relationships, yet is neither immune to hypocrisy. Championing the untiring philosophy that “all species are worth saving”, Piper recognises humanity’s moral responsibility to offer compassion to life beyond our own species. However, she is devastated by Beast’s (10) prognosis, lamenting “I am not ready”, despite having previously baulked at “Twinkie’s pacer” (11). Rayson undermines Piper’s outward altruism, challenging whether it merely cloaks a selfish desire to appease her own insecurities of losing her loved ones. Regardless of our moral convictions, Rayson explores the insecurities formed from our fears of loneliness that compel individuals to compromise their moral ideals.
*Annotations
(5) Notice how I discuss many themes in Extinction, beyond morality and decision-making. From understanding and reasoning with characters, I also explore companionship, belonging, isolation and hypocrisy. I avoid introducing character names in the topic sentence, as this can scream ‘character-based paragraph’ to the examiner.
(6) Immediately addressing views and values of writer. This is more interesting than the conventional approach of presenting evidence, exploring it then diving into values of the writer.
(7) Here, I try to bring Dixon-Brown to life by empathising with her. Compare this with: Dixon-Brown’s pragmatic exterior is undermined when she pursues a romantic affair with Harry Jewell. This sounds more like summary and comes off robotic and unemotional, neither does it add any dimension to her character.
(8) Using the author’s name when exploring views and values.
(9) It’s always nice to have a transition sentence between a new piece of evidence, especially in Extinction when a lot of the evidence is character-based.
(10) Use of minor characters.
(11) Minor characters again.
Paragraph 2
Rayson explores people’s inextricable connection with nature that undermines the purity of our ideology (12). In spite of Harry’s sentimental connection with nature that motivates him to pursue the Quoll Project, reminiscing of his childhood pet “Errol Flynn” and being a part of a family that made a “living off the land”, Rayson explores our darker ties to nature that leads individuals to make questionable decisions (13). Through the symbol of the birds of prey (14) in Harry and Piper’s camp, including the beautiful “barking owl”, Rayson alludes to how humans can too manipulate and prey to indulge their baser impulses, leaving aside morals (15). Beyond this, Rayson investigates the universal concept of mortality (16) that is shared by all life forms in nature. Confronting the shadow of mortality, Andy’s stoic façade and impenetrable ideology is undermined. He shares his stamp of impermanence with the injured tiger quoll with a “snapped spinal column”, and is likely able to empathise with it (17). Thus, his decision to euthanise the quoll may have been the inadvertent projection of his desire to end his own suffering. Through Piper, who challenges Andy for choosing the “most convenient option”, Rayson illuminates how our ties to nature can compromise our ethics and decisions, reaffirming our propensity towards moral contradictions.
*Annotations
(12) In a play concerned with the environment, I try to include people’s connection to nature and the environment when I can.
(13) Good to mention topic.
(14) Include the symbols of nature that Rayson weaves into the play and its meaning.
(15) Good to mention topic.
(16) Again, I try to discuss more themes apart from morality and decision-making by including mortality. In a play concerning endangered species and measuring the worth of life, try to discuss mortality whenever possible.
(17) Again, I think finding similarities between the lives of animals and humans is crucial in this play, rather than considering them as two separate entities.
Paragraph 3
Ultimately, Rayson captures how humanity’s moral convictions can in fact align with their decisions when decisions are founded through virtuous ideals. Despite oscillating moral values that threaten the balance of Andy and Piper’s relationship (18), their shared morality of compassion and sacrifice reunite them at the play’s denouement. Andy’s willingness to sacrifice their relationship in order to not “waste her life” and Piper’s refusal to leave Andy side despite a future that “just leads to sadness” illustrates the human capacity to reconcile their differences when their moral values align with their future ambition. Rayson echoes this capacity for reconciliation through the setting (19) of the animal shelter in the play; a setting representing preservation and hope. Although the play begins with a “wet and windy night” in the animal shelter, intensifying the arguing and frustration (20), Rayson closes with the “gleam” and “twitch” of the tiger quoll in the same setting. This realises humanity’s capability making moral decisions through their virtuous ideals; striving to preserve and protect one’s relationships and natural habitat. As well as the possibility of a live tiger quoll who offers hope for their natural environment, Andy and Piper, who believe in loyalty and resilience, offer hope in a world permeated by moral contradiction.
*Annotations
(18) I challenge the topic but still acknowledge my previous agreement with the topic.
(19) Use of metalanguage. Here I’ve explored a more natural setting, however Rayson often transitions between the city scape at Dixon-Brown’s apartment where the “noise of the city and peak-hour traffic rumbles below” and the natural landscape, “a wildlife rescue centre tucked away in the Cape Otway rainforest”. It can be effective to notice the contrast between the two and the events that occur in each setting.
(20) If analysing setting: Explore the effect of the setting on the mood of scene or characters. Then explore its significance to the views and values of the author.
Conclusion
Rayson’s (21) Extinction explores humankind’s moral frailty and gravitation towards the ethical when we focus too closely on ourselves. Rayson examines the insecurities woven throughout the human condition and our inextricable ties to nature that threaten our moral foundations, both prompting individuals to consider themselves over their relationships and duties to the environment. However, Rayson ultimately captures the resilience of mankind to unite despite their flaws, offering hope for the future of our environment and species.
*Annotations
(21) Finish with a reflection of the bigger picture and overarching values the author promotes or condemns.
At first glance, Extinction may just seem like a short story of a chaotic quartet, but there are so many hearty themes to unpack and discuss. After a few re-reads, you will discover some unique finds, and after a few essays, you will find overlaps and patterns in seemingly philosophical topics.
For more sample essay topics, head over here so you can start practising some of the tips you've learnt in this blog! You'll also find another essay topic breakdown where we show you a 50 study scorer's essay plan. Happy writing!
Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps.
Access a FREE sample of our Extinction study guide
Written by Tasha Gacutan who achieved a perfect study score of 50 in English
Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately (no more going off-topic!)
Includes annotated sample A+ essays
Advanced discussions like structural feature analysis, views and values, different interpretations and critical readings - all broken down into easy-to-understand concepts that students of any level can replicate
Alfred Hitchcock’s classic thriller Rear Window was released nearly 65 years ago. Back then, Hitchcock was a controversial filmmaker just starting to make waves and build his influence in Hollywood; now, he is one of the most widely celebrated directors of the 20th century. At the time of its 1954 release, Rear Window emerged into a world freshly shaken by World War II. The fear of communism riddled American society and Cold War tensions were escalating between the two global superpowers, the USSR and USA. Traditional gender stereotypes and marital roles were beginning to be challenged, yet the ‘old way’ continued to prevail. The culture of the 1950s could hardly be more different to what it is today. Within the Western world, the birth of the 21st century has marked the decline of cemented expectations and since been replaced by social equality regardless of gender, sexual preference and age. So why, six decades after its original release and in a world where much of its content appears superficially outdated, do we still analyse the film Rear Window?
Rear Window is a film primarily concerned with the events which L.B. (Jeff) Jefferies, a photographer incapacitated by an accident which broke his leg, observes from the window of his apartment. He spends his days watching the happenings of the Greenwich Village courtyard, which enables Jeff to peer into the apartments and lives of local residents. The curiosities which exist in such an intimate setting fulfil Jeff’s instinctual need to watch. The act of observing events from a secure distance is as tempting as reality television and magazines. To this day, these mediums provide entertainment tailored to popular culture. At its roots, Jeff’s role as a voyeur within Rear Window is designed to satisfy his intense boredom in a state of injury. As the film is seen through Jeff’s voyeuristic eyes, the audience become voyeurs within their own right. Until relations between Thorwald and his wife simmer into territory fraught with danger, Jeff’s actions are the harmless activities of a man searching for entertainment.
So, if Rear Window teaches us that voyeurism is a dangerous yet natural desire, does the film comment on the individuals who consent to being watched? Within Greenwich Village, Jeff’s chance to act as an observer is propelled by the indifference of those he observes. Almost without exception, his neighbours inadvertently permit Jeff’s eyes wandering into their apartments by leaving their blinds up. The private elements of others’ lives, including their domestic duties, marital relations and indecencies, are paraded before Jeff. Greenwich Village is his picture show and its residents willingly raise the stage’s curtains. This presentation of Hitchcock’s 1954 statement remains relevant today. Jeff’s neighbours’ consent to his intrusion into their lives bears striking similarities to current indifference. The prevalence of social media enables information to be gathered as soon as its users click the ‘Accept Terms & Conditions’ button. Rear Window is a commentary on social values and provokes its audience to examine habits of their own, especially in a world where sensitive information is at our fingertips. Just as Hitchcock’s 1954 characters invite perversive eyes to inspect their lives, society today is guilty of the same apathy.
The characters of Hitchcock’s thriller are a pivotal element of the film’s construction. They add layers of depth to the text and fulfil roles central to the plot’s development. One of Hitchcock’s fundamental directorial decisions was leaving multiple characters unnamed – within Greenwich Village alone, we meet Miss Lonelyhearts, Miss Torso and Miss Hearing Aid. The stereotypical nature of these labels, based on superficial traits that Jeff observes from his window, exemplifies the sexism prevalent in the 1950s. Jeff’s knowledge of these women is limited to such an extent that he does not know their names, yet considers himself qualified enough to develop labels for each of them. The historical background of stereotypes is imbedded within Rear Window and shares vast similarities with the stereotypes we recognise today.
Hitchcock’s 1954 thriller Rear Window portrays a little world that represents the larger one. Its themes, primarily voyeurism, and character profiles illustrate Hitchcock’s societal messages and provide a running commentary on issues which govern America during the 1950s. In the six decades since the film’s release, the Western world has undergone significant developments both socially and culturally. L.B (Jeff) Jefferies’ perception of women and married life is inconsistent with the relations between men and women that we observe today. Regardless, the timeless views that Hitchcock’s conveys through Rear Window continue to speak volumes about our society. Jeff’s voyeurism, which comprises much of the film’s major plotline, is a channel for Hitchcock to comment about the instinctual desire for individuals to observe others. Additionally, Hitchcock delves into the flip side of this matter, presenting the theory that those he watches are just as guilty of allowing his intrusion into their private lives. Apathetic mindsets in today’s digital world are responsible for the same indifference that Hitchcock explores within his film. Let’s not forget the sexist stereotypes that Jeff develops to label certain women within Greenwich Village. Miss Lonelyhearts, Miss Torso and Miss Hearing Aid are all victims of Jeff’s narrow mindset towards women, emphasised by these superficial and demeaning names. Stereotypes remain as apparent within society today as they were within the world of Rear Window and can be identified within the media’s diverse presentation of social issues. It is easy to assume that Hitchcock’s 1954 thriller, Rear Window, lacks the relevancy we expect from films. Contrary to this perception, its ingrained messages are fundamentally true to this day.
If metalanguage is a new term to you, you need a refresher, or you simply need a more in-depth explanation of what it means, check out or blog What Is Metalanguage?
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Metalanguage is language that describes language. When you’re analysing a film (most likely for your Text Response), ‘metalanguage’ refers to the terminology you use to discuss film techniques and devices. You need to consider things like cinematography, sound and mise-en-scène (which FYI, are metalanguage terms) - the way the film is constructed and how this contributes to storytelling, mood and meaning. You can’t effectively analyse a film without using the correct metalanguage terminology, because you can’t effectively analyse a film without discussing film techniques and devices!
Filmic Devices
We’re going to take you through some examples of film techniques, but for a more comprehensive metalanguage word bank, keep reading until the end of the blog! We’ll put all of the relevant metalanguage in bold throughout the section below.
Camera Shots
This refers to the amount of space that is seen in one frame, which can be used to emphasise different aspects of the film’s setting or characters.
Example: An extreme close-up of a character’s face can be used to portray their emotions, while a long shot could be used to establish a character’s relationship to their environment or setting.
The close-up of Jeffries in Rear Window emphasises his curiosity about the action unfolding in his neighbour's home.
This long shot of Norma from Sunset Boulevard introduces her character as mentally and physically removed from the outside world, highlighting her detachment from reality.
Camera Angles
The way in which the audience is positioned to view the setting or character(s). This can enhance the audience’s understanding of the relationship between characters, or the way a character is feeling in a particular situation.
Example: a low camera angle can be used to demonstrate how a character is feeling empowered at a particular point in the film.
Mandela's triumph in successfully uniting a nation in Invictus is conveyed through the low camera angle.
Sound
Sound in film can be split into two main categories:
Diegetic sound is any sound that exists in the world of the film - it’s sounds the characters can hear. This includes dialogue, footsteps, doors opening and closing, or a radio playing in the background.
Non-diegetic sound comes from outside the world of the film - only the audience can hear it. This includes things like background music or voice-over narration. You can analyse the way sound enhances the mood of the film; for example, a suspenseful backing track might build tension before a jump scare or dramatic reveal, while an upbeat song might create humour or undercut a serious moment.
Mise-en-scène
Mise-en-scène is a French term that more or less translates to “to put in the scene”. It refers to everything visible within a frame, and analysing mise-en-scène means looking at how the filmmaker has arranged these elements to convey meaning. This includes costumes, props, setting, lighting and even the actors’ performances.
In this shot from Sunset Boulevard, the setting of Norma’s home is cluttered with framed photographs of herself from her silent film days. Wilder uses these props to show that Norma surrounds herself with constant reminders of her youthful stardom, revealing her obsession with the past and her delusion that she remains as famous as she once was, as well as the isolated environment she has built to avoid confronting reality.
In the sections below, we’ve honed in on some key elements of mise-en-scène: lighting and costume.
Lighting
Lighting plays a key role in shaping how we interpret a scene. It can establish setting and time of day, suggest a character’s emotional state, or highlight key details within the frame.
Lighting can create mood and atmosphere, and it can even be symbolic. For example, if a character is lit from the side, leaving half of their face in the shadows, it can suggest secrecy or moral ambiguity.
Example: if the filmmaker has used low lighting, the scene might feel more eerie and suspenseful.
The low lighting throughout Rear Window creates a sense of mystery and suspense as Jeffries and his party spy on their neighbours. It gives us the impression that their actions are wrong because they need to keep their voyeurism a secret.
In Portrait of a Lady on Fire, the director used exclusively natural lighting, like sunlight, candles, and fireplaces. It creates a softer painterly aesthetic that immerses the audience in the setting of 1770 France.
Costume
How a character is dressed in any given scene is very important; their clothes can say a lot about their present state of mind or their physical situation.
The costume design in Rear Window reveals Lisa’s evolving characterisation, as her transition from beautiful dresses to casual clothing shows how she is not simply the socialite Jeffries assumed her to be.
In this shot from Portrait of a Lady on Fire, Marianne stands in front of her painting of Orpheus and Eurydice, with Orpheus depicted in the same shade of blue she’s wearing in that moment. This deliberate costuming choice symbolises her identification with Orpheus, as an artist who grieves their lost love.
List of Metalanguage Relating to Film
Here’s a list of metalanguage terms, organised by category, that should come in handy with your essay writing. All the terms below are examples of metalanguage, but the more specific you can be in your essays, the better - for example, don’t just describe ‘the director’s use of camera angles’, describe ‘the director’s use of a low-angle shot’.
This list of metalanguage terms is not designed to be exhaustive! There are absolutely more film techniques and devices out there in the wide world of film making, but this will hopefully give you a jumping off point.
Cinematography
Colour
Composition: rule of thirds, symmetry, asymmetry, salient point, leading lines (or vector lines).
Exposure
Framing
Camera shots: establishing shot, extreme long shot, long shot, medium shot, medium close up, close up, extreme close up
Camera angles: low angle, high angle, eye level shot, bird’s eye shot, ground level shot
Narrative mode: linear narrative, non-linear narrative, first person perspective, third person perspective, third person limited, third person omniscient.
Narrative tense: past, present, future.
Plot:
Anti-climax
Climax
Conflict
Denouement
Exposition
Inciting incident
Resolution
Subplot
Symbolism
It’s essential to use the correct metalanguage in your essays, because without it, you can’t effectively analyse how a filmmaker has constructed their film to convey meaning. Strong film analysis depends on metalanguage: if you’re analysing filmic techniques like cinematography, sound and mise-en-scène using the right metalanguage, you’ll develop much more insightful interpretations of your film.
Directors make deliberate choices to shape meaning, just as authors do with language. If you’re only analysing what is said, rather than how the story is told on screen, you’ll struggle to demonstrate a nuanced understanding of the film. Using metalanguage allows you to unpack a director’s choices with precision and depth - a skill that is essential for success in Text Response essays.
If you want to learn more about the key metalanguage you should be using to analyse your film, check out this video!
This study guide was written by Remy Hannan and Lisa Tran.
The Golden Age is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our VCE Text Response Study Guide.
Summary
Even though this hasn’t been one of the more popular choices on the VCE text list, Joan London’s The Golden Age is a personal favourite of mine for a number of reasons. This is a novel about the experiences of children recovering from polio inside a convalescent home in Perth. With a sympathetic and warm approach, London tells the tragic yet brave stories of these children, as well as the stories of their parents and carers.
The novel essentially revolves around Frank Gold, a Hungarian Jew and a war refugee, and London blends his mature voice with the innocence of a coming-of-age narrative, all set against the backdrop of World War II.
As you’re reading the book, watch out for her literary or poetic language, and keep track of the story’s overall mood. These will be important considerations for text study, particularly if you are to write a creative response on this text for your SAC. With this in mind, I’ve included writing exercises throughout this blog post for you to practise writing creatively on this text.
If you are writing analytically on this text, either for your SAC or for your exam, you may still complete the exercises—each one should still be insightful for your writing in some way. Also, feel free to check the video below; it breaks down an analytical prompt for this text.
Historical Context
This novel is set in Perth during the early 1940s, which gives rise to a couple of interesting historical elements all intersecting in the book.
Crucially, the events of the novel take place for the most part while World War II is raging in Europe. This is important for understanding the backstory of the Gold family: they are Hungarian Jews who have escaped their war-torn home of Budapest to seek safety in Australia. In particular, we know that at some stage, Meyer had been taken away to a labour camp, and that Frank had had to hide himself in an attic.
Their Hungarian heritage, however, is something that distances them from other Australians, and they never really get a good chance to settle in, always feeling like they just weren’t on the same wavelength as the locals. In many ways, the story of the Golds is underpinned by tragedy—not only are they war refugees, but young Frank then contracts poliomyelitis (known to us just as polio), which forces the family to reassess all the plans they had for him to settle into an ordinary, Australian life.
However, Frank was far from the only victim of polio at the time—the entire nation was rocked by a wave of polio, with major outbreaks during the 1930s-40s. This was quite a nerve-wracking, and causing great fear for our country and its active, outdoors-y culture. The prospects of death, paralysis and permanent disability were understandably terrifying. About 70,000 people were affected, and almost half of them eventually died as a result. Almost every Australian at the time knew or knew of someone who had polio.
Task: You are Ida, composing a letter to Julia Marai after Frank’s diagnosis. Convey succinctly (in 250 words or less) what you think and how you feel.
Key Themes & Implications
I like to think that a lot of the themes in this book exist in diametric or opposing pairs. For instance, London gives Frank a voice that is wise beyond his years, yet uses it to tell a tender story of first love. She also plays on the paradox that while some characters have become isolated due to the unfortunate events that have befallen them, these very events end up becoming the thing that unite them.
Essentially, London plays with a lot of these thematic tensions, showing us that life isn’t really ever black and white, but there are whole lot of grey areas in every day life.
Central to the novel are ideas of innocence or childhood. These ideas are really explored in the friendship between Frank and Elsa, who are both on the cusp of adolescence. While they are set up as young lovers in the eyes of readers, we know that they are far too young to truly have romantic feelings for each other. In actual fact, their interactions are permeated by a sense of innocence.
However, these interactions are also punctuated by a sense of maturity, a desire for more. This is evident to the extent where nurses are getting hesitant about leaving them alone with each other (even though their parents still trust them entirely). In actual fact, these parents serve as an important point of contrast. Some manage to recapture the magic of youth even as adults—consider Ida reigniting her love for the piano, or Meyer jumping on opportunities to start anew. In this sense, innocence and maturity are a pair of themes that are interestingly not always found where one might expect.
Another key thematic element of the novel is tragedy or adversity, which are relevant to a far wider gamut of characters. Considering the story’s geographical and historical setting, it seems evident that these ideas will play a major role in the story. A particularly poignant example lies in Sullivan, who contracts polio right on the cusp of adulthood, and readers can’t help but feel a sense of loss for what might have been.
However, on the other end of this spectrum is the strength required to cope with their suffering. While Sullivan had his indefatigable sense of humour, other characters have developed different mechanisms to stay strong in the face of adversity. In some cases, you might say that they’ve transcended or risen above their tragedies, and become stronger for it.
Finally, London also tackles the idea of isolation, which can be seen as a consequence of tragedy—characters become isolated because they lose their ability to relate to others, and others feel unable to relate to them. Symbolically, the Golden Age hospital is surrounded by four roads and therefore cut off from the world, almost as if quarantined. However, the solidarity and unity of patients inside becomes a great source of strength—I’ll leave it to you to think about what London was trying to say with this!
Task: Selecting one of the above themes, write a poem from the POV of an imaginary spectator in the novel, outlining how you perceive/experience these themes in other characters. Use all five senses(how you see it, hear it, smell it, taste it, and touch/feel it)
Major Characters
I haven’t written too extensively about characters for a range of reasons: on one hand, it’s important for you to form your own interpretations about what they’re like and why they do the things they do, but on the other hand, I wanted to leave you with some key points to consider and/or some essential points about their characters to incorporate into your writing. This will allow you to hopefully feel like you’re capturing them accurately when writing your creatives, but without feeling restricted by an extensive set of traits that you have to invoke.
Frank Gold
the central character, he is cerebral, intelligent and mature (which we can tell from his narrative voice, or how he ‘sounds’)
he is, however, still very young, wide-eyed, inquisitive in spite of the tragedies which have befallen him (consider how he sees his relationship with Elsa)
also significant is the motif of his poetry; not only does it highlight his maturity, but it also acts as a way for him to voice or articulate his feelings and experiences in the hospital—you could try incorporating some poetry in your writing (either original poems or quoted from the novel)
Elsa Briggs
another central character who becomes quite attached to Frank (they are the two eldest children in the Golden Age)
she is warm, caring and selfless, demonstrating an emotional maturity beyond her years (because of having to bear the metaphorical albatross of polio)
a lot of what we know about Elsa comes from Frank’s perspective (though we do get some insight from her own, and some from her mother’s)—how does this shape the way we see her? Consider London’s use of imagery, portraying her as an angelic figure.
Ida & Meyer
Frank’s parents, Hungarian Jews, and war refugees who come to Australia to cleanse them of their pasts and to have a fresh start; some of this is purely by circumstance, but there are parts of their past that they willingly and actively eschew e.g. Ida’s piano
note that Hungary is a landlocked country in the midst of European hustle and bustle with easy access to other nations/cultures/peoples, but Australia is an island on the other side of the world—consider how this affects their sense of isolation
on the other hand, they do form new connections with people here and in their own individual ways; Ida by reclaiming her pianist talents and Meyer by taking up a new job
Task: You are Elsa, Ida, or Meyer and you’ve just discovered Frank’s poem book. What are your thoughts and feelings towards his writing? Consider the context of your chosen character’s own experiences
Minor Characters
I’m sure you’ve heard it by now, but any piece of text-based writing (creative or analytical) can be strengthened by diversifying the range of characters that you write about. Even though you’ve already differentiated yourself from most VCE students by even doing this text at all (very few people choose it, so props to you!), some inclusion of more minor characters might help to distinguish yourself further. I’ve picked some that I think are interesting to talk about, but feel free to experiment with others as well!
Sullivan
a young man who contracts a severe strand of polio right on the cusp of adulthood, thereby exemplifying the theme of tragedy—however, his sense of humour remains active in spite of his immobility, so perhaps he not only exemplifies this theme but subverts it as well
London poses the complex question of whether or not he’s actually unhappy or defeated as a result of polio; there’s no clear answer, since there’s many ways to interpret his humour (is it a sign of strength or is it a front for inner turmoils expressed through poetry?)
in addition to his humour and poetry, his relationship with his family could also be an interesting point of discussion to address some of these questions
Ann Lee
a young girl in the hospital who is quite close to Elsa (almost in a sisterly way)—how have they developed this relationship, and how does this relate to the theme of unity/companionship/human connection?
notably, she wanted to rehabilitate herself after polio took away her ability to feed the brumbies in her desert town—think about how this might represent strength as well
Julia Marai & Hedwiga
Ida’s former piano teacher and her flatmate/partner who live at the top of an apartment block in Budapest; they shelter Frank in their attic under no obligation whatsoever, but purely out of the kindness and selflessness of their hearts
again, there’s this subversion of what it means to be isolated: on one hand, their apartment is so cut off from the rest of the world below, and they lead a largely self-sufficient life together, but on the other hand, the fact that they’re together means that they’re not entirely isolated consider the power of human connection in this context as well
Task: Pick a minor character from this list and a character from the above list of major characters, and write about them meeting each other for the first time. Pick two that do not already interact closely within the novel e.g. Elsa meeting Sullivan
I hope this gives you some ideas or starting points about writing creatively on this text!
Download the PDF version of The Golden Age study guidehere.
Dissecting an A+ Essay using 'The Golden Age'
Picture this: you’re sitting down at your desk, fumbling your fingers, inspecting the new stationary that you convinced yourself you needed for year 12, resisting the urge to check your phone. Your text response SAC is in two weeks. You’re freaking out because you want, no, need an A+. You decide to write a practice essay for your English teacher. Practice makes perfect, right? You stay up for hours, pouring your heart and soul into this essay. The result? B+. Where did I go wrong?
That’s where I come in! Writing an A+ essay can be really tough without examples and specific advice. Before reading on, make sure you've read our Ultimate Guide to VCE Text Responseso you are up to scratch.
I will be explaining some basic dos and don’ts of writing an essay on The Golden Age, providing a model essay as an example.
The following prompt will be referenced throughout the post;
‘The Golden Age’ shows that everyone needs love and recognition. Discuss.
Planning: the silent killer of A+ essays
I’m sure your teachers have emphasised the importance of planning. In case they haven’t, allow me to reiterate that great planning is compulsory for a great essay. However, flimsy arguments aren’t going to get you an A+. The examiners are looking for complex arguments, providing a variety of perspectives of the themes at hand. From the above prompt, the key word is, ‘discuss’. This means that you should be discussing the prompt, not blindly agreeing with it. Make sure you don’t write anything that wouldn’t sit right with London.
DON’T
Don’t plan out basic arguments that are one-dimensional. This may give you a pass in English, but won’t distinguish you as a top-scoring student.
For example:
Paragraph 1: The children at TGA need love and recognition.
Paragraph 2: Ida and Meyer need love and recognition
Paragraph 3: Sister Penny needs love and recognition.
The above paragraphs merely agree with the statement, but don’t delve into the many aspects of the novel that could contribute to a sophisticated essay.
DO
Do create complex arguments, or paragraphs with a twist! If you can justify your argument and it makes sense, include it in your essay. There are many ways that you could answer this question, but my plan looks like this:
Paragraph 1: Frank Gold yearns for mature, adult love, not recognition from onlookers or outsiders
Paragraph 2: Ida Gold does not seek recognition from Australia, but love and validation from herself
Paragraph 3: Albert requires love from a specific kind of relationship – family, and Sullivan may view love from his father as pity which he rebukes
See the difference?
The introduction: how to start your essay off with a BANG!
Personally, I always struggled with starting an introduction. The examiners will be reading and marking thousands of essays, so if possible, starting your introduction with something other than Joan London’s ‘The Golden Age’… is a great way to make you stand out from the crowd. Having a strong start is essential to pave the way for a clear and concise essay. You could start with a quote/scene from the text! This is not essential, but it’s a great way to mix things up. This is my start:
Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life. There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.
Remember, there are many other ways you could start your essay.
The body paragraphs: To TEEL or not to TEEL?
I’m sure you’ve heard of TEEL countless times since year 7. Topic sentence, evidence, explanation, link. The truth is that these elements are all very important in a body paragraph. However, following a rigid structure will render your essay bland and repetitive. It is also extremely important to note that you should be using evidence from multiple points in the text, and you should be making sure that your paragraphs are directly answering the question. Write what feels natural to you, and most importantly, don’t abuse a thesaurus. If you can’t read your essay without rummaging for a dictionary every second sentence, you should rewrite it. If vocabulary isn’t your strong point (it definitely isn’t mine!), focus on clean sentence structure and solid arguments. There’s nothing worse than you using a fancy word incorrectly.
DON’T
Don’t overuse your thesaurus in an attempt to sound sophisticated, and don’t use the same structure for every sentence. For example:
Prematurely in the paperback London makes an allusion to Norm White, the denizen horticulturalist of The Golden Age Convalescent Home…
That was an exaggerated example generated by searching for synonyms. As you can see, it sounds silly, and some of the words don’t even make sense. I mean, “denizen horticulturalist”…really?
DO
Do mix up your paragraph structure! If vocabulary is your weak point, focus on clean language.
Here’s mine:
Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home. Norm White hands Frank Gold a cigarette, “as if to say a man has the right to smoke in peace”. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. This is a clear contrast to the “babyishness” of the home, and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; “his own memory…lodged like an attic in the front part of his brain”. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; “we Jews have to be on the lookout”. Elsa sees “a look in his eyes that she recognised”, thus their bond enables both characters to heal. London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult.
I firmly believe in short and sharp conclusions. Your body paragraphs should be thoroughly explaining your paragraphs, so don’t include any new information here. A few sentences is enough. Once again, write what feels natural, and what flows well.
DON’T
Don’t drag out your conclusion. Short and concise is the key to finishing well.
DO
Do write a sharp finish! Sentence starters such as, “Ultimately…” or “Thus, London…” are great.
Here’s mine:
Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.
I'll finish off by giving you an exercise: brainstorm and write up a plan for the essay topic shown in the video below. I'd recommend you do this before watching Lisa's brainstorm and plan. That way, you can see which of your ideas overlapped, but also potentially see which ideas you may have missed out on. Good luck!
The Golden Age Essay Topic Brainstorm
[Video Transcript]
The takeaway message for this video will be to utilise minor characters here and there to deepen your argument. London has really developed all her characters to feel three-dimensional and real, so it’s important not to just write about Frank and Elsa when there are so many others worth touching on.
Let's head straight into background information:
Joan London’sThe Golden Age is a novel about children recovering from polio in a convalescent home in Perth. She tells the stories of these various children, their families, and their caretakers, focusing on FrankGold and Elsa Briggs, the young protagonists who are just starting to develop romantic feelings for each other. Though they, and many of the other children, have faced much hardship and misfortune, London tells a story of hope and human connection in times of misery.
On that note, today’s essay topic is:
The Golden Age is primarily a tragic tale of isolation. Discuss.
Let’s break this prompt down and define some keywords. The keywords we’ll be looking at first are isolation and tragic. We’ll be defining them quite briefly, but be sure to think about these in terms of how they relate to the novel. In particular, see if any scenes, passages or characters jump to mind.
Isolation is a state of being alone or away from others and can be associated with a sense of powerlessness or insignificance. Tragic can simply just mean sad, depressing and loaded with sorrow or ‘pathos’, but there are also literary implications to this word: you might’ve done a tragic Shakespeare play and learned this before, but in general, a tragic story centres on a hero who encounters misfortune, and treats their demise in a serious or solemn way. Note that a good essay will discuss both these terms, and will address not only isolation but also the question of whether or not it is treated tragically.
The other important word is ‘primarily’. This word in the prompt suggests that The Golden Age is for the most part about these ideas - for you, that means you should ask yourself how central you think they are, and make a call on whether they are the most central.
Well, it’s definitely true that elements of isolation and separation do exist in The Golden Age, but these themes are not primarily tragic ideas in the novel -London explores the way in which hope can shine through in times of hardship. In fact, the novel overall has a message of kinship and hope, and this would be the primary thematic focus, as well as the main treatment of otherwise tragic ideas. So how might this look in paragraphs?
Paragraph 1: Let’s concede that the novel does evoke sadness through its frequently sombre tone and treatment of isolation
We see this through characters such as Ida and Meyer, who have been cut off from the world in their escape from their war-torn home, and forced to transition from their landlocked Hungary to an island on the other side of the globe. Their struggle to adjust is evoked through symbols - for instance, black cockatoos, which represent a “homely, comforting” omen to locals, sound “melancholy [and] harsh” to Ida. In particular, London’s solemn characterisation of Ida as constantly “frowning”, and as having a “bitter little mouth that usually gripped a cigarette ”works to emphasise her ennui or her dissatisfaction with being cut off from the world. Their homesickness is evoked through this constant longing for home, though sometimes much more literally: Meyer feels that “never again on this earth…would, he feel at home as he once had.”
Similarly, the story of Sullivan Backhouse, confined in an “iron lung” and physically isolated from outside contact, is also primarily tragic. London develops this character and gives him a backstory - he has “just turned eighteen” and had been the “prefect [and] captain of the rowing team.” This gives readers an idea of the life he might have had if not for the tragedy of his condition. Even in spite of his “good-humoured nature”, his poetry belies the pessimism within - his book, morbidly entitled “on my last day on earth”, closes with the line “in the end, we are all orphans.” We can thus see how lonely he must have felt when he tragically passed away.
In this paragraph, we’ve considered three different characters, whereas a lot of people writing on this text might just do a character per paragraph, so this is a good way to really show the examiners that you’ve considered the full extent of what the book offers. Let’s continue this as we move onto…
Paragraph 2: We disagree, however, since the novel includes various other moods and thematic material - in particular, London explores notions of resolve and hope in times of hardship
Now, the first character that comes to mind would have to be Elsa - London uses particularly powerful imagery, such as her “translucent”, “golden wave” of hair or even her “profile, outlined in light”, to portray her as angelic or elysian. For the children, Elsa evidently represents hope - even in her state of isolation, her “graceful and dignified” demeanour and her quiet acceptance that polio “was part of her” is courageous and worthy of admiration.
Moving onto a minor character who was perhaps inspired by Elsa - the young Ann Lee, who was quite close to Elsa, also has a story which is more inspiring than tragic. When polio first crippled her, she found herself unable to give water to the brumbies in her desert town. As a result, she perseveres, “step after painstaking step” so as to be able to return home and “give a drink to thirsty creatures.” Her compassion and determination to work against her isolation become the focus of her tale.
Paragraph 3: In fact, the novel’s focus is on hope rather than tragedy
A range of other characters demonstrate the power of love and human connection in the face of adversity, and London seems to be focusing on these ideas instead. Plus, it’s not just the children who are brave in the face of tragedy, but ordinary people prove themselves to have the potential for strength and courage. Take Julia Marai and Hedwiga, who hide Frank in their attic during the Nazi invasion of Hungary. Even though their apartment is “on the top” of the block, and isolated in its height, suspended from the world, they become “provider[s]” for Frank. London writes that in difficult times, “kindness and unselfishness were as unexpected, as exhilarating, as genius,” and it’s easy to see how these qualities form a counterpoint to the tragedies that permeate the novel, allowing hope to shine through.
And that’s the end of the essay! Being able to explore minor characters like we did here is a really good way to show examiners that you have a deeper understanding of a text, that you’ve considered it beyond just the main characters on the surface. The Golden Age is a really great one for this because London has done so much with her cast.
Essay topics
1. “Being close made them stronger.” In The Golden Age, adversities are tempered by camaraderie. Do you agree?
2. Despite the grim context, The Golden Age highlights and celebrates the potential of life. Discuss.
3. Memories of past successes and failures have significant lingering effects on characters in The Golden Age. Is this an accurate assessment?
4. “[I would be] a fox, following a Palomino.” How do animals such as these contribute symbolically to The Golden Age?
5. It is largely loneliness which defines the struggles of the children in The Golden Age. Discuss.
6. In what ways is The Golden Age a novel of displacement?
7. Fear of the unknown is something which permeates The Golden Age. Is this true?
8. What is the role of family in Joan London’s The Golden Age?
9. Isolation in The Golden Age exists in many oppressive forms. Discuss.
10. Throughout The Golden Age, London draws attention to beauty rather than to suffering. Discuss.
11. In spite of their youth, it is the children of The Golden Age who understand best what it means to be an individual in the world. Do you agree?
12. How do characters from The Golden Age learn, grow and mature as the novel takes its course?
13. Due to the range of different onset stories, each of the children and their families in The Golden Age face a different struggle with their identity. Discuss.
14. “Home. She hadn’t called Hungary that for years.” In spite of all their struggle, the Golds never truly feel any sense of belonging in Australia. To what extent do you agree?
15. Explore the factors which drive Joan London’s characters to persevere.
Extinction is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out ourUltimate Guide to VCE Text Response.
1. Summary: A Brief Snapshot
At the heart of innovative technology and products lies exceptional human creativity. Our brains are practically wired to create and innovate newness. Naturally, the influx of products entering the market creates a consumer frenzy. Suddenly, everything is a commodified entity with a dollar-sign attached to it. Its inherent value lies in how much consumers covet the item.
Let’s take the iPhone for example! An idea of a communication device - both sleek in its functionality and aesthetic - is mass produced, consumed by millions and the cycle perpetuates itself. It is an item so coveted and desired, a 17-year-old boy from China sold a kidney to buy the iPad and iPhone. This phenomenon of consumerism is symptomatic of a contemporary world’s obsession with vanity and aesthetic. Our fixation on the surface-level and glossy facades is similarly echoed by Extinction’s main protagonist, Professor Heather Dixon-Brown, who criticises the ‘charismatic fauna push’ where we are ‘making celebrities out of pandas and polar bears’. While those campaigns are successful in raising better awareness and positivity in the realm of conservation, they do not change the ways in which we live and consume.
How we live today is inflicting a deep ecological impact on planet earth. Furthermore, as urban landscapes inevitably expand, we continue to encroach on the territory of the natural world.
These are the kind of thoughts that popped into my mind after reading Extinction. Hannie Rayson’s provocative play delves deep into the central question of what it means to uphold a personal conviction in the face of self-interest and necessity. Casual flings, extinguishing of life and the friction between ‘ideological purity’ and functionality threatens to unhinge even seemingly robust characters such as Heather Dixon-Brown, an ecologist who preaches that she ‘uses her head, not her heart’. Rayson’s literary work endeavours to capture how the human character is, in fact, multidimensional and never static! As the passionate environmentalists and pragmatic ecologists are entangled in ethical quandaries, the playwright also illustrates how divorcing your mindset from emotion is a universal struggle. Furthermore, she explores how moral conviction is consistently at odds with the demands of the personal and professional domains we inhabit.
Throughout the drama encapsulating mining magnates, environmentalists and ecologists, Rayson combines their fictional voices to echo a cautionary tale of how self-interest and misconception about ‘the other’ may distort rationality. When the CEO of Powerhouse mining, Harry Jewell, bursts into a wildlife rescue centre in Cape Otway, holding a critically injured and endangered tiger quoll, he inadvertently catalyses a conflict that will draw out the prejudices withheld by the trio of environmentalists.
I encourage you to think about the lessons embedded in the play. What are the take-home messages YOU have discovered?
Guiding Questions:
What is the message the playwright is attempting to deliver to her audiences?
When you finished the play, what feelings were you left with?
Which characters did you find likeable? Who aggravated you the most? And most importantly, provide evidence for why you felt that way! Was it because of their problematic ways of dealing with an ideological crisis? Or their fierce passion towards upholding moral conviction?
2. Character Analysis
Let's take a look at these deeply flawed human beings:
Professor Heather Dixon-Brown
Director of the CAPE institute
Interested in only saving species that are ‘statistically saveable'.
Bureaucrat with the realism to match.
'I am an ecologist, not an environmentalist. I use my head, not my heart.'
'Species are like commodities…I just don’t approve of this ‘charismatic fauna’ push - making celebrities out of pandas and polar bears.' (p. 99)
'You want me to close the CAPE. Is that what you want? Then we can bask in ideological purity…' (p. 120)
The never-ending struggle between heart and mind is central theme in the play.
Harry Jewell
An idealist with the knack for alluring women to fall for him.
'You don’t serve your cause by being indifferent to the interest of working people.'
'I know his type: the kind of greenie who’s always saying no. No dams. No mines. No roads.' (p. 114)
'I am not some multinational corporation devouring the Amazon. I’m just a bloke who’s come back home.' (p. 114)
Piper Ross
Zoologist from San Diego Zoo (temporarily transferred)
Andy Dixon’s girlfriend
Gets entangled in a romp with Harry Jewell aka Mr. Evil
'They are all 'worth saving''. (p. 83)
Andy Dixon
A vet who is extremely pragmatic in his mindset towards his work and personal life
Slight aversion to technology
The inevitability of technology supplanting certain occupations
Technological evolution? (Is it the kind of evolution we want?)
'…the great advocate for our native flora and fauna…' (p. 118)
'You should see this dairy farm. It’s all computerised. They’ve got one bloke managing a thousand cows. No human supervision of the milking. No-one to check the udders. I’m just there, doing the rounds. Like a robot.' (p. 82)
3. Themes
Logic vs. Emotion (Pragmatism vs. Ideological Purity)
To divorce your emotions from affecting your decision-making capacity is a universal struggle aptly captured by Rayson’s depiction of Dixon-Brown’s gradual inclination towards the tiger quoll project funded by a coal company. In this case, we can argue that her objectivity and ‘her head’ is seemingly beguiled by the charms of Harry Jewell.
Early in the play, Professor Dixon-Brown is anchored to her desk, filing applications and paperwork instead of ‘getting back to her own research’. This prospect changes when Harry - big coal - offers 'two million dollars on the table' to fund the tiger quoll campaign. Nonetheless, we see the two unexpected collaborators setting a dangerous precedent where one can simply equate a species’ livelihood to ‘commodities’ and ‘a good return’ of profit.
What is compelling about Harry’s character is that he combines both pragmatism and ideological purity. Firstly, Harry has the means and business acuity to manoeuvre a board of directors bent on exploring coal ‘right on the edge of the national park’. However, ‘Mr Evil’ is also inspired by nostalgia and sentimentality over a childhood memory where a tiger quoll steals his drumstick.
Conversely, Andy Dixon-Brown’s stance against the mining industry and automated dairy farms is admirable considering how technology has become a central cornerstone of modern-day life. His partner Piper Ross, a zoologist, echoes similar distaste for mining companies, however, her passion for ‘saving’ all animals eclipses her own presumptions towards ‘Mr Evil’. She is eventually persuaded to head the tiger quoll project.
Whereas, Professor Dixon-Brown enjoys the uncomplicatedness of numbers and statistics. However, her carefully crafted algorithm fails to differentiate between the diversity of animals within the ecosphere. Instead, it filters out populations of 5000 and above to collate only the ‘statistically saveable’.
In this respect, Harry’s actions showcase how a striking a balance between pragmatism and emotion is important.
Unity in a Socially Divisive World
In this play, the ‘us vs. them’ mentality pervades the minds of the protagonists. Through the heated dialogue between environmentalists, ecologists and mining moguls, Hannie Rayson delivers the message that as a society we should not be so reliant on simplifying individuals based on age-old presumptions and surface-level characteristics. Harry Jewell echoes a similar sentiment as he discusses his company’s plans to Piper: 'Who’s this ‘we’? You don’t serve your cause by being indifferent to the interests of the working people.' (p. 92)
Zooming in: Andy & Harry: Let's explore the volatile dynamic between the two males
Andy’s indignant stance against collaborating with the mining industry showcases his resilience in sticking to his moral code. One can argue that his immediate demonisation of Harry Jewell, as evidenced by the nickname ‘Mr. Evil’, is a symptom of Andy’s oversimplified thinking. It is through Andy’s inflammatory and infantile language towards the Mining CEO that Rayson articulates how the politics of conservation is in shades of grey. Conversely, Harry’s admits that he knew Andy was ‘the type of greenie who’s always saying no [from the moment he came through that door]’. In highlighting the binary oppositions of the two men working in different fields, the play acknowledges how prejudice inhibits potential collaborations.
Harry and Andy showcase how our own misconceptions about ‘the other’ detract from our own moral causes - such as in this case, saving the forest. Both men are committed to the same cause. However, Andy’s antagonistic approach towards Harry undercuts his own integrity as he willingly allows prejudice to cloud his thinking simply because it is the more convenient thing to do, as opposed to collaborating and accommodating each other’s interests.
Categorising strangers into convenient stereotypes is pure laziness.
Andy: 'Hope he didn’t damage that cruise missile he’s got out there?' (p. 73)
Harry: 'I know the type - knew him the moment he came through that door. He’s the kind of greenie who’s always saying no. No dams. No mines. No roads.' (p. 114)
Romanticism vs. Reality
Against the backdrop of familial arguments and budding romances, Extinction’s Professor Dixon-Brown’s blunt dialogue about conservation reveals its politicised nature. Her heated dialogue with Piper echoes her frustration at ‘writing [Stuart Decker’s] applications so he can get ‘a sun tan’ conducting research on The Great Barrier Reef and win accolades for it'. Furthermore, she satirically exclaims that ‘[the institute] needs to defend its territory’. Her mocking of the vice-chancellor who acted like they were in a ‘White House Situation Room’ implicitly demonstrates her growing disdain towards the tenuous politics of her workplace. Essentially, Heather’s realist approach exposes what lies beneath the glossy exterior of conservation efforts.
I’ve seen quite a few videos of baby pandas circulating on my Facebook feed, most of them are part of a conservation effort or campaign. The comment section of these videos is like a medley of heart-eyes and exclamations of ‘How cute!!’ This relatively harmless sentiment is dismissed by Professor Dixon-Brown when she states that she is completely disengaged with ‘charismatic fauna’ (p. 99) push - making celebrities out of pandas and polar bears’. Our overwhelmingly positive reactions towards such campaigns is based on a societal gravitation towards the aesthetically pleasing which bleeds into the next thematic idea revolving around our fixation on appearance (surface-level).
Essentially, in the context of this play, the preferential treatment of endangered animals reflects our own biased thinking.
Vanity and Our Obsession With Appearance
The idea of vanity also pervades the sub-consciousness of both male and female protagonists. Against the backdrop of environmental conservation dilemmas, Hannie Rayson manages to entwine a secondary story strand which captures the insecurities peppering the female experience in this contemporary age. The audience learns that Heather Dixon-Brown spends $267 on hair removal every five weeks. Interestingly, her brother, ‘a screaming heterosexual’ (p. 95), likens the hair removal process to ‘getting a tree lopped’. The destructive and almost violent imagery of chopping down a tree echoes the crippling pressure for Heather to ‘sculpt’ herself into a particular ideal of femininity.
It is in this way that Rayson articulates a broader thematic idea that womanhood is still being defined in terms of attractiveness and perseveration of youth. Heather’s internalised insecurities resurface in her heated confrontation with Harry. She accuses him of ‘prefer[ing] a younger woman’ and having ‘never been with a woman with pubic hair’. Both of which Harry indignantly refutes. Through this heated dialogue, audiences gain an insight into Heather’s vulnerability as a divorcee-to-be and interestingly, we are exposed to her assertiveness as she questions 'can’t [you] stomach a woman who stands up to you?'
Her conflicting ideologies on womanhood are best exemplified through Harry who almost admonishes her for embodying ‘some nineteen-fifties idea of relationships’ where ‘sex with someone’ does not necessarily entail ‘a lifelong commitment’. This is also the central conflict faced by all the characters who engage in seemingly non-committal relationships and false expectation. It is through these failed trysts that Rayson disapproves of uninhibited sexual impulses and by extension, criticises the increasing promiscuity in contemporary times. Essentially, Rayson’s fixation on causal sexual relationships mirrors her own opinion that there has been a paradigm shift in how we govern our sexuality and bodies since the 1950s.
Conservation in a World of Destruction
You can define conservation in terms of ‘preservation of… ’, ‘sustaining…’.
In the personal domain, Piper maintains that she and Harry ‘slept in separate tents’ to her boss Professor Dixon-Brown who also doubles as her potential sister-in-law. Conversely, Professor Dixon-Brown is forced to make an ethical compromise to prevent a career besmirching orchestrated by a mass-email insinuating a sordid romance between her and her newest collaborator, Harry Jewell. Her reputation as CAPE’s director is nearly tarnished by the vengeful force of a fling’s ex-wife.
Do I preserve my moral compass or my professional reputation?
Other thematic ideas that relate to this umbrella phrase include: misuse of authority and ethics of the digital world.
Deleting emails is tantamount to rewording/reworking history. Professor Dixon-Brown’s attempt at salvaging/restoring her pristine moral code of ‘using her head, not her heart’ is encapsulated in her desperate dash to the IT servers at 1am in the morning to delete the incriminating email detailing her illicit relationship with Harry Jewell. This, undoubtedly, compromises both of their careers as professionals. Furthermore, their intimate fling casts Dixon-brown as a seducer/a woman who is easily compromised, which is untrue. However, it is the facades that count in the play.
4. Symbolism
Euthanising the Female Tiger Quoll
In this case, by virtue of being female, we can assume the tiger quoll ‘with a crushed spine’ has reproductive capabilities. The injured tiger quoll was a life-giving entity. Technically, if she recovered fully, the tiger quoll could be the solution to its endangered status.
Andy’s swift decision to euthanise the animal in great pain could be in reference to his own desire to ‘make [his life] over’. He has inadvertently projected his own fears and anxieties over his GSS diagnosis onto the critically injured creature. Essentially, in the moment of mutual pain, Andy could resonate with the tiger quoll.
My theory is that the images of casual sex serve as an ironic layer to a play titled Extinction. Both Piper and Heather unwittingly develop sexual relations with Jewell on a casual basis which symbolises how intercourse is no longer purely valued as a means for continuing the species. These ‘efforts’ for reproduction are fruitless.
1. They show how mankind is centred on pleasure and instant gratification, prioritising the self above all matters.
2. They demonstrate how modern living expectations, consumerism and the perpetuation of gluttony have led to a plateau in human evolution.
Real-life Amanda -> Tutor comment translation:
As I was reading the text, a recurring question kept nagging at me: Why are there intimate scenes sandwiched between the layers of ideological conflict and tension?
Tutor -> real-life Amanda translation:
Oh my goodness, are these characters THAT sexually frustrated? Someone’s heart is going to get broken and then we will have to analyse that in our essays. Ughhhhhh.
5. Stage Directions
Weather Transitions
1. The opening scene showcases how vets and environmentalists alike are surprised by the first sighting of a tiger quoll in a decade. Their surprise at this unprecedented occurrence is reinforced by the ‘wet and windy’ conditions. Typically, stormy weather is symbolic of chaos and unpredictability.
2. During a particularly heated exchange between Andy and Piper, the interjection of ‘thunder’ intensifies rising temperament in both characters. (p. 73)
3. When Andy discovers who ‘Harry bloody Jewell’ is, his growing disbelief and rising temperament are complemented by the off-stage sound of ‘the roar of the motorbike’. The audiological stage cue characterises Jewell as an unwanted presence of chaos and noise. As the motorbike’s roar is a sound incongruent with the natural environment encapsulating Harry.
The Meaning of Fire
In Act Two: Scene One, the secretiveness of Harry and Piper’s tryst is underlined by the ‘vast blackness’ and their figures ‘in silhouette’. Furthermore, its fragile and tenuous connection is symbolically related to how both counterparts repeatedly ‘poke[] the fire’ to ensure its longevity through the night. Perhaps, this imagery is referring to how all temptation and sexual energy need to be moderated, which complements Piper’s reluctance to continue their budding relationship.
6. Sample Essay Topics
We've offered a few different types of essay topics below. For more sample essay topics, head over to ourExtinction Study Guide to practice writing essays using the analysis you've learnt in this blog!
Theme-Based
The play, Extinction demonstrates that compromise is necessary in the face of conflict.
Character-Based
As a self-professed ecologist, Heather Dixon-Brown’s decision to collaborate with 'the other’ stems from self-interest. Discuss.
Quote-Based
'I use my head, not my heart.' Extinction explores how human nature reacts under pressure and vice.
How-Based
How does Hannie Rayson explore the idea of emotion in the play Extinction?
7. Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy, a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
Theme-Based Prompt: Extinction is a play about personal integrity and environmental responsibility. Do you agree?
Step 1: Analyse
This essay prompt is an example of a theme-based prompt. It specifies both 'personal integrity' and 'environmental responsibility' as themes for you to consider. When faced with a theme prompt, I find it most helpful to brainstorm characters and author’s views that are relevant to the given themes, as well as considering more relevant themes that may not have been mentioned in the prompt itself.
Step 2: Brainstorm
Personal integrity and environmental responsibility are central themes, but they aren’t the only themes that Extinction concerns itself with
Environmental responsibility - political, financial, social, pretty much all characters (Piper and Harry as a focus)
Personal integrity - truth versus lie, how we react under pressure, Dixon-Brown and her choice to delete the emails
What is left over? Other kinds of responsibility, e.g. interpersonal relationships
Interpersonal relationships, e.g. Piper and Andy (with a focus on Andy)
Step 3: Create a Plan
P1: Environmental responsibility
Piper and Harry - the tiger quoll project
Potential to talk about idealism versus pragmatism?
P2: Personal integrity
Honesty, morality, ethics
Dixon-Brown’s choice to delete the emails is motivated by selfishness, not by personal integrity
P3: Responsibility to act honestly and transparently in relationships Andy!
He is both environmentally responsible and has personal integrity, but still struggles with his relationships until the very end of the play
If you find this helpful, then you might want to check out A Killer Text Guide: Extinction where we cover five A+ sample essays (written by a 50 study scorer!), with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so that you know how to reach your English goals! Let's get started.
Extinction by Hannie Rayson is usually studied in the Australian curriculum Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
[Modifed Video Transcription]
This is the prompt that I have decided to approach for this video and blog post:
Heather Dixon-Brown and Piper Ross’s dynamic is fuelled by competitiveness unique to the female experience in contemporary times.
Let’s break it down!
Different Interpretations of Extinction
Today I’ll be talking about different interpretations of texts, specifically the feminist lens, which is a critical lens for you to know if you’re wanting to get those top marks. Even if you’re not there yet, and you want to amp up your essay, this is it. So keep watching (or reading)!
I won’t be talking about the feminist lens in detail in this video/blog, but know that this is one of the must-know VCAA criteria points I discuss in my How To Write A Killer Text Response ebook. It is particularly relevant to Extinction because by viewing your text through a feminist lens, you’ll be able to get so much more out of your discussion. Think about it this way, you can wear all sorts of ‘glasses’ (i.e. lenses) when you’re reading a text: a feminist lens, a pro-sustainability lens, an ecocritical lens. If you were to put these lenses on, how would it change your interpretation of the text? By adopting this advanced way of approaching a text, you’ll undoubtedly wow examiners because you’re able to discuss your texts on a level that the majority of students aren’t even aware of! I touch more on feminist and ecocritical lenses at the end of the video above :)
How To Break Down This Extinction Essay Topic
Whenever you get a new essay topic, you can use LSG’sTHINK and EXECUTE strategy, a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out inHow To Write A Killer Text Response.
Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:
Step 1: Analyse
Step 2: Brainstorm
Step 3: Create a Plan
Character-Based Essay Prompt: Heather Dixon-Brown and Piper Ross’s dynamic is fuelled by competitiveness unique to the female experience in contemporary times.
This prompt specifies two characters – Dixon-Brown and Piper – and therefore mandates an in-depth discussion of them within your essay. However, it is important to be careful of focusing exclusively on the explicitly mentioned characters when given a character prompt. After all, while Dixon-Brown and Piper are both very important to Extinction, they are not the only relevant characters! In order to ensure that your discussion covers enough of the text, make sure your brainstorming stage includes the ideas and themes exemplified by the unmentioned characters, and how they relate to the ones that are specified.
Step 2: Brainstorm
Agree to the prompt, but not entirely – Dixon-Brown and Piper do experience competitiveness between themselves, as two women in the twenty-first century, but it is not the only factor impacting their relationship dynamic
Female competitiveness in relationships and desirability – e.g. having sex with Harry without the other knowing (make sure to use DB’s quotes about competition!)
Make this more specific – competition in terms of sex, sexuality and whether or not one is desired (can link this well to the young/old dichotomy)
Young/old – related to female competitiveness, but more specific – tension between what is wanted and considered attractive versus what is no longer given value
Idealism/pragmatism – separate from the sphere of gender; has more of its roots in politics and contrasting schools of thought
Adopt traits from a feminist lens – focusing on women, power, relationships with men, when they can speak versus when they can’t, etc.
Step 3: Create a Plan
Body Paragraph 1: Contemporary demands for female competitiveness undoubtedly underlie the dynamics between Dixon-Brown and Piper Ross.
Under the modern-day patriarchy, women are encouraged to compete over social resources – reputation, desirability, and, crucially to Extinction, one’s sex and sexuality against the context of men. Both women are attracted to Harry, and eventually, both engage in 'covert sexual relationship[s]' that 'compromise the integrity' of the tiger quoll project. Beneath the veneer of assertiveness, Dixon-Brown’s underlying insecurities expose her treatment of Piper as a rival.
Although she openly denounces Harry’s assumption that 'You thought I wanted to compete for your affections', she nevertheless demands to know if Harry is 'quite smitten with Piper'. Dixon-Brown tries to distance herself from such romantic bindings, insisting that she 'do[esn’t] need a relationship' and thus subconsciously pitting herself as Piper’s opposite – in other words, a competitor for the different instances of Harry’s affection.
Rayson is quick to highlight and consequentially reject this modern female infighting, arguing that the insecurities as birthed from the patriarchy directly and unnecessarily demean the relationships between women.
Body Paragraph 2: The primary source of female conflict between Dixon-Brown and Piper is that of their incongruent ages; Rayson maintains that the tension between ‘younger’ and ‘older’ individuals contributes massively to the wider tenseness in their dynamic.
Patriarchal values dictate that the value of a woman decreases with age: Dixon-Brown claims that Harry 'would prefer a younger woman', implying that her desirability has decreased with the increase of age.
The professor’s obsession with appearances and reputation as a woman is almost completely absent in Rayson’s consideration of Piper, who is actively pursued by both Andy and Harry throughout the play. She is 'adore[d]' by the former, and the latter is enthusiastic at the prospect of 'mak[ing] love like that…again' during Act Two, Scene One. Rayson attacks the systems of patriarchal value that have driven both women to resist and distrust each other in the first place.
Body Paragraph 3: Conversely, while the spheres of politics certainly overlap occasionally within feminism and the question of female competition, they nevertheless form a largely distinct motivation behind the conflict between Piper and Dixon-Brown.
Piper and Dixon-Brown’s dynamic is perhaps most aptly summarised in Act One, Scene Two, with the introduction of the Dixon-Brown Index. Dixon-Brown claims that 'five thousand' is the 'latest magic number' with which to determine what animal populations are most feasible to make conservation efforts towards. Piper criticises the index immediately, pointing out the ridiculousness of having it 'apply to every mammal on earth', regardless of any other relevant factors. To Piper, every animal life is 'worth saving', whether they be 'killer whales or teeny potoroos' – Dixon-Brown, by contrast, must 'liv[e] in the real world' and exists at the mercy of funding, of which there is 'only so much… to go around'. The tension within their dynamic thus bears this underlying current of idealism versus pragmatism, and persists even after the primary establishment of the tiger quoll project.
If you're studying Extinction yourself, then LSG's A Killer Text Guide: Extinction study guide is for you! In it, we teach you to think like a 50 study scorer through advanced discussions on things like structural feature analysis, views and values, different interpretations and critical readings. Included are character breakdowns, a play summary, 5 A+ fully annotated essays and so much more!
Ransom is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
Contents
Characters
Themes
Symbols
Plot, Analysis, Important Passages and Quotes
1. Characters
Priam
Priam is an elderly king of Troy. As a child, his sister Hesione saved him from slavery, and had his named changed from Podarces to Priam, the name meaning ‘the ransomed one’ or ‘the price paid'. After the death of his son Hector, Priam envisions himself in plain clothing, riding a plain cart to Achilles who is effectively holding Hector ransom. His vision is the catalyst for the novel’s events, for his journey is one of learning and self-development. Though the royal family is doubtful of his plan to save Hector, Priam is resolute and insists that he needs to try his best to confront Achilles as a father, rather than as king. After many decades as king of Troy, Priam is determined to reinvent how he will be remembered; as a king who performed an extraordinary act of heroism in order to save his beloved son.
Achilles
Achilles is known as the greatest warrior of the Greeks. The death of Patroclus, his closest companion and hinted lover, drives Achilles to insanity. Hector murdered Patroclus and, as a result, Achilles takes revenge by killing Hector. He then drags Hector’s dead body along the walls of Troy for the next 11 days. Achilles loses his sense of humanity as he is possessed by his rage, hatred and grief.
Somax
Somax is representative of the ‘common man’ in Ransom. He is chosen to escort Priam to Achilles. His simple and plain presence is contrasted with Priam’s royal status. He often engages in useless chatter and performs daily activities in a way that is foreign to the king. Although Somax is far from royalty, his great deal of affection for his daughter-in-law and granddaughter teaches Priam about love, family and life.
Beauty
Beauty is Somax’s favourite mule. She accompanies Priam and Somax on their journey to the Greek camp where Achilles resides.
Shock
Somax’s other mule who carries the cart to Achilles’ camp.
Hecuba
Hecuba is Priam’s beloved wife and mother of Hector. She is initially uncertain of Priam’s vision to save Hector. However, after hearing Priam’s sentimental reasons, she shows support and urges him to first share his plan with their family and the kingdom’s council before he departs.
Hector
Hector is Priam’s son and also the leader of the Trojan army. He is kind, brave and noble without any cruel intentions, unlike his rival Achilles. During a battle between the Trojans and the Greeks, Hector kills Patroclus. This results in Achilles challenging Hector to a battle, resulting in Hector’s death and Achilles’ triumph.
Neoptolemus
Neoptolemus is Achilles’ son. Although he is mentioned throughout Ransom, he makes his first appearance at the end of the novel where he savagely slaughters an old and defenseless Priam in an effort to avenge his father’s death.
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By the way, to download a PDF version of this blog for printing or offline use, click here!
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2. Themes
Identity
Ransom explores who we are and what it means to have an identity. As the leader of Troy for many decades, Priam has always viewed himself as a king. It appears as though Priam has been unhappy with his identity for quite some time, is physically weak, and feels as though he cannot protect his kingdom as efficiently as he used to. However, the death of Hector is a catalyst for Priam as he realises that he needs to become a ‘father’ rather than the ‘king’ he had become so accustomed to. His search for Hector is also a search for himself, to reinvent who he is and how he wishes others to remember him.
Meanwhile, Somax is designated as the king’s herald, with the name Idaeus. He secretly notes his unhappiness with this name appointment, since he is ‘Somax, not Idaeus'. The name ‘Somax’ is associated with many significant events in his life including his marriage and family, yet the new unfamiliar name strips him of this identity. Somax’s confidence and pride in his identity is starkly contrasted with Priam’s pursuit for an identity transformation.
Change
Malouf demonstrates that it is never too late to change one’s ways. Priam’s determination to change how he is remembered – from just another king leading a regal life to a hero who went to extraordinary lengths to regain his child – demonstrates that change is within our grasp. Even though his beautiful wife Hecuba and the rest of his family have reservations about his desire to confront Achilles, Priam is resolved in taking a ‘chance', rather than achieving nothing by remaining within the walls of his home. Unexpectedly, this one idea propels Priam into a multitude of other changes. His journey with Somax teaches Priam a far greater deal than he had anticipated, for he learns to appreciate the value of the human connection and other daily simplicities in life.
Although Achilles is driven by hatred and anger after Patroclus’ death, as with Priam, he manages to change his ways. He is touched by Priam’s pleas and consequently accepts the ransom and returns Hector’s body. He is able to reach this state of peace by releasing his immoral intentions and even offers to hold a ritual for Hector’s body in the Greek walls that very night. This transformation, from a human who responds to grief with vengeance to someone who releases and forgives, demonstrates the benefits we can gain from amending our ways.
Revenge, Guilt and Peace
Revenge is portrayed as a never-ending vicious cycle until both parties reach a negotiation or peace. After Patroclus’ death, Achilles hunts down Hector in order to avenge his best friend’s early death. Although he is successful in murdering Hector, Achilles does not follow the custom of leaving the body for the grieving family to bury. Instead, Achilles feels the need to mutilate the body day after day without any sense of remorse or regret. His additional need to inflict harm on Hector’s body indicates that revenge will not bring closure. His sense of loss is shown as he reflects feeling empty inside, to the point where he no longer feels like himself, but someone else altogether.
Although Achilles and Priam ultimately find peace within themselves, many years later Achilles’ son Neoptolemus murders Priam, bounded by the same hatred and pain depicted by Achilles. Neoptolemus’ subsequent guilt and regret is carried with him throughout the rest of his life, demonstrating that again, revenge is not the answer to any problem.
Chance and Fate
The role of the gods is heavily woven into the events that unfold in Ransom. Priam only begins his transition and journey after envisioning the goddess Iris, who suggests that he take a ‘chance’ and try to save Hector from Achilles’ camp. During his journey, a jovial young man who joins the travellers is revealed as Hermes, a god who has come to safely guide the elderly men to Achilles. The power of the gods in controlling human fate is illustrated during the scene where Hermes saves the travellers from being swept away by a stream.
Nevertheless, it can also be argued that it is the characters’ decisions that lead them to their fate. Although the gods may have instilled in Priam the idea that he should rescue Hector, it is the king’s determination which is a main driving force for the journey. Even when confronted with doubt and hesitancy from his family, it is Priam who pushes onwards to fulfil his vision. Whether his actions were already predestined or of his own agency is up to you to decide.
Nature Versus Man
Man’s presence on earth is shown to have little significance in comparison to the power of nature. While the events in Ransom teach the characters many valuable lessons, ultimately these meaningful moments in the humans’ lives disappear as one reaches their fate – death. Time moves on beyond our lives as we are forgotten over decades and centuries while nature prevails. Priam’s desire to be remembered by others highlights how little significance a life possesses unless one behaves extraordinarily. Malouf demonstrates that in the end, life just is – we are granted by nature to have a brief existence, yet in the end, nature and time will move forward without us.
Commoners Versus Royalty
Although royalty is portrayed to be blessed with power and authority, it is ironically the commoners in Ransom who appear to have the ‘richest’ (and more fulfilling) lives. For the first time, Priam is exposed to the different interests and values of the common man and is intrigued by the simplicities of life. It is Somax, a mere old man from the marketplace, who teaches Priam more about life than he had imagined possible.
3. Symbols
Jove’s Eagle
Jove’s eagle is a representation of a bird renowned for its keen sight. The presence of Jove’s eagle during Priam and Somax’s departure hints that the gods will safely guide their journey as the bird behaves as a lookout. Furthermore, the symbol of the eagle’s powerful vision is contrasted with Priam’s ‘blindness’ at the beginning of the journey since he is yet to experience the outside world. It is during the journey that he learns about himself and others, and thus, improves his ‘sight.’ Coincidently, Jove’s eagle is no longer mentioned when Priam is endowed with his new insight.
Cart
The royal cart is ‘a fine new one, the marks of the adze still visible on its timbers. The twelve-spoked wheels are elaborately carved and painted, a wickerwork canopy covers the tray'. On all occasions, the king had used this elegant cart to alert others that royalty was present. The use of this cart demonstrates how Priam has been encapsulated in his own royal sphere since everything is meticulously chosen and designed specifically for the king. Nevertheless, his demand for a ‘common work cart’ depicts his determination for a simple approach to Achilles, as a father to another father. This simplicity highlights Priam’s desire to become just another man and father, anonymous in the plain cart with the hopes of retrieving Hector.
Priam as a Child
At the beginning of the journey, Priam is characterised with childish traits. When Somax urges Priam to dabble his feet in the stream, words such as ‘obedient toddler', ‘three uncertain steps', and ‘happy smile’ reflect the actions of a young child trying new experiences. This childish nature is contrasted with Priam’s old and frail age, which demonstrates that although he has lived a life in royalty, his lack of exposure to ‘real life’ has left him crippled of the simplest experiences such as the cooling effect of feet in water and eating delicious homemade cookies.
Cakes
The cakes Somax brings along during the journey highlight Priam’s lack of knowledge of even the simplest things. For Somax, the little griddlecakes are a regular and delectable snack, yet Priam 'ha[s] never seen them before'. Priam’s unfamiliarity with the cakes represents his isolation from the ‘real world’ since he has been deprived from things that even commoners view as ordinary.
Futhermore, Somax’s lengthy chatter about his daughter-in-law cooking the cakes with the ‘batter bubbling and setting and turning a golden brown’ prompts Priam to think about the activities in his kingdom that occur behind closed doors. He had previously never noticed that there was so much preparation and work that went into the food that appeared at his table, let alone the ingredients and thickness of a batter. These matters had been of little concern to Priam, yet he realises that even the ‘common and low…activities and facts of life, had an appeal'.
Hector’s Body
Although Achilles drags Hector’s body across the walls of Troy for eleven days, each morning he would return to find Hector’s body healed of any wounds, and absent of any physical damage to his body. This is a cruel reminder of the god’s ability to ‘toy around’ with the Ancient Greeks’ lives. Hector’s body also symbolises how revenge is not the answer to any conflict, since dealing with a tragic loss through revenge does not gain anything but more pain and suffering.
Sniffing
Although Priam initially believes he understands the distress of losing a son, Somax’s experience of losing his son is driven with emotions that Priam had never previously experienced. When sharing the story of his son’s death, Somax sniffles, an ‘odd habit’ according to Priam. The use of ‘odd habit’ to describe Somax’s sadness demonstrates how Priam has never truly felt the loss of his son, but only the loss of a royal relationship between king and prince.
Later on, Somax once again ‘snuffles’ and ‘rubs his nose’ at the thought of the ending to their journey. Similarly, Priam makes ‘small sounds', presumably crying as well. The transformation of Priam from someone who failed to empathise with Somax’s tears at the beginning of the journey to a man filled with emotions demonstrates that Priam undergoes both a physical and metaphysical journey where he undergoes self-development and appreciation of the world around him.
4. Plot, Analysis, Important Passages and Quotes
Chapter I
Plot
Achilles, the greatest warrior of the Greeks, stands next to the sea while reminiscing about the past. After his mother’s death he had ‘entered the rough world of men’ (p. 6) where wars and battles prevail. Every morning, he feels the need to ‘tramp to shore’ (p. 10) since he is haunted by the death of his ‘soulmate and companion’ Patroclus, and his raging hatred towards Hector, killer of Patroclus and thus, the ‘implacable enemy'.
When Achilles was a child, his cousin Patroclus came to live with the young Achilles since the former had killed the son of a high official of the royal court due to a ‘quarrel over a game of knucklebones’ (p. 11). In need of asylum, Patroclus came to live with Achilles’ family. As the years passed, the pair grew closer to the extent where Achilles believes that ‘he had mated with Patroclus’ (p. 15).
When the tide of the battle was against the Greeks, Patroclus disguises himself in Achilles’ armour in order to instill fear in the Trojans and cause them to return to the safety of their walls, thus providing temporary relief for the Greeks. In his last act for his closest friend, Patroclus is killed in battle*. The death of Patroclus left Achilles with an overwhelming sense of loss and also burning animosity. Achilles whispers that he will join Patroclus soon, but firstly, he has to avenge Patroclus’ killer, Hector.
Hector, the son of Trojan king Priam and leader of the Trojan army, wore Achilles' armour as a sign of triumph and disrespect for the Greeks. In a dramatic battle between Hector and himself, Achilles was successful in killing his enemy. Achilles’ Myrmidons then stripped Hector of his armour and ‘without pity…plunged their swords into Hector’s unprotected flesh’ (p. 24). For Achilles however, this was not enough. Still fuelled by his pain, Achilles ties Hector’s body to a chariot and drags it ‘up and down under the walls of Troy’ (p. 26) as the dead warrior’s royal family devastatingly watches on. Achilles feels like a ‘dead man…feeling nothing’ (p. 26), unable to seal the void left by his beloved friend.
The next day, Achilles is furious to find Hector’s body ‘smoothly sealed and the torn flesh made whole again'. His men cannot bear to look at him as he drives the chariot with Hector’s body along the walls of the Trojans once again. Afterwards he quickly falls asleep, into ‘oblivion’ (p. 35) as he struggles with the shame and guilt of his actions. He is ‘waiting for a break…something new and unimaginable’ in his life.
Analysis
The Human Side
Along with the conflict between Greece and Troy, Ransom also delves into the consequences of those affected by the war. As the greatest warrior of all Greeks, Achilles has lived his life as a fighter. Nevertheless, his pathway in life has led him to believe that ‘such a life is death to the warrior spirit’ (p. 7). While warriors are known for sacrificing their lives in the battlefield, Achilles does not literally refer to warriors confronting death each time they fight for their team. In fact, ‘death to the warrior spirit’ means to metaphorically lose what it means to ‘live’ when one experiences bloodshed in each war. Growing up surrounded by ‘the rough world of men’ (p. 6), Achilles develops traits of aggression, cruelty and vengefulness in order to become an implacable man of war. As a consequence, Achilles only knows how to deal with Patroclus’ death with a fighter’s mindset. Instead of grieving openly, ‘he never permit[s] himself to betray to others what he [feels]’ (p. 5), thus detaching himself from the natural human process of grieving. In order to deal with his friend’s tragic ending, Achilles' ‘soul chang[es] colour’ as drags Hector’s body for eleven days without any sense of regret or remorse, and thus, is referred to as ‘death to his human spirit’ since he was no longer ‘a living man’ (p. 27). He faces Patroclus’ death with the same warrior traits of aggression, cruelty and vengefulness, depriving himself of any ability to humanely mourn his close friend’s death.
Furthermore, Achilles grieves for his mother in the opening passages of Ransom. During this time of loss, his mother symbolises Achilles’ need to be nurtured. The imagery of the sea surface as a ‘belly’ and ‘a membrane stretched to a fine transparency’ (p. 3) represents his mother’s pregnancy where he ‘had hung curled in a dream of pre-existence’ for ‘nine changes of the moon’ – or in other words, nine months of pregnancy. Achilles is characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. Although Achilles is a fighter, he hides the fact that he wishes to be ‘rocked and comforted’ by his mother, thus demonstrating that even beneath the surface of a cold-hearted warrior, the current of human emotions can cripple a man’s confident veneer.
If you'd like to read more of my analysis, feel free to access a sample of our ebook A Killer Text Guide: Ransom. In this ebook, I cover Plot, Analysis, Important Passages and Quotes so you can prepare for your SAC and exam. I've also included 5 Sample A+ English essays on Ransom, complete with annotations so you know exactly what you need to do in your next essay to achieve an A+.
If metalanguage is a new term to you, you need a refresher, or you simply need a more in-depth explanation of what it means, check out or blog What Is Metalanguage?
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Metalanguage is language that describes language. When you’re analysing a film (most likely for your Text Response), ‘metalanguage’ refers to the terminology you use to discuss film techniques and devices. You need to consider things like cinematography, sound and mise-en-scène (which FYI, are metalanguage terms) - the way the film is constructed and how this contributes to storytelling, mood and meaning. You can’t effectively analyse a film without using the correct metalanguage terminology, because you can’t effectively analyse a film without discussing film techniques and devices!
Filmic Devices
We’re going to take you through some examples of film techniques, but for a more comprehensive metalanguage word bank, keep reading until the end of the blog! We’ll put all of the relevant metalanguage in bold throughout the section below.
Camera Shots
This refers to the amount of space that is seen in one frame, which can be used to emphasise different aspects of the film’s setting or characters.
Example: An extreme close-up of a character’s face can be used to portray their emotions, while a long shot could be used to establish a character’s relationship to their environment or setting.
The close-up of Jeffries in Rear Window emphasises his curiosity about the action unfolding in his neighbour's home.
This long shot of Norma from Sunset Boulevard introduces her character as mentally and physically removed from the outside world, highlighting her detachment from reality.
Camera Angles
The way in which the audience is positioned to view the setting or character(s). This can enhance the audience’s understanding of the relationship between characters, or the way a character is feeling in a particular situation.
Example: a low camera angle can be used to demonstrate how a character is feeling empowered at a particular point in the film.
Mandela's triumph in successfully uniting a nation in Invictus is conveyed through the low camera angle.
Sound
Sound in film can be split into two main categories:
Diegetic sound is any sound that exists in the world of the film - it’s sounds the characters can hear. This includes dialogue, footsteps, doors opening and closing, or a radio playing in the background.
Non-diegetic sound comes from outside the world of the film - only the audience can hear it. This includes things like background music or voice-over narration. You can analyse the way sound enhances the mood of the film; for example, a suspenseful backing track might build tension before a jump scare or dramatic reveal, while an upbeat song might create humour or undercut a serious moment.
Mise-en-scène
Mise-en-scène is a French term that more or less translates to “to put in the scene”. It refers to everything visible within a frame, and analysing mise-en-scène means looking at how the filmmaker has arranged these elements to convey meaning. This includes costumes, props, setting, lighting and even the actors’ performances.
In this shot from Sunset Boulevard, the setting of Norma’s home is cluttered with framed photographs of herself from her silent film days. Wilder uses these props to show that Norma surrounds herself with constant reminders of her youthful stardom, revealing her obsession with the past and her delusion that she remains as famous as she once was, as well as the isolated environment she has built to avoid confronting reality.
In the sections below, we’ve honed in on some key elements of mise-en-scène: lighting and costume.
Lighting
Lighting plays a key role in shaping how we interpret a scene. It can establish setting and time of day, suggest a character’s emotional state, or highlight key details within the frame.
Lighting can create mood and atmosphere, and it can even be symbolic. For example, if a character is lit from the side, leaving half of their face in the shadows, it can suggest secrecy or moral ambiguity.
Example: if the filmmaker has used low lighting, the scene might feel more eerie and suspenseful.
The low lighting throughout Rear Window creates a sense of mystery and suspense as Jeffries and his party spy on their neighbours. It gives us the impression that their actions are wrong because they need to keep their voyeurism a secret.
In Portrait of a Lady on Fire, the director used exclusively natural lighting, like sunlight, candles, and fireplaces. It creates a softer painterly aesthetic that immerses the audience in the setting of 1770 France.
Costume
How a character is dressed in any given scene is very important; their clothes can say a lot about their present state of mind or their physical situation.
The costume design in Rear Window reveals Lisa’s evolving characterisation, as her transition from beautiful dresses to casual clothing shows how she is not simply the socialite Jeffries assumed her to be.
In this shot from Portrait of a Lady on Fire, Marianne stands in front of her painting of Orpheus and Eurydice, with Orpheus depicted in the same shade of blue she’s wearing in that moment. This deliberate costuming choice symbolises her identification with Orpheus, as an artist who grieves their lost love.
List of Metalanguage Relating to Film
Here’s a list of metalanguage terms, organised by category, that should come in handy with your essay writing. All the terms below are examples of metalanguage, but the more specific you can be in your essays, the better - for example, don’t just describe ‘the director’s use of camera angles’, describe ‘the director’s use of a low-angle shot’.
This list of metalanguage terms is not designed to be exhaustive! There are absolutely more film techniques and devices out there in the wide world of film making, but this will hopefully give you a jumping off point.
Cinematography
Colour
Composition: rule of thirds, symmetry, asymmetry, salient point, leading lines (or vector lines).
Exposure
Framing
Camera shots: establishing shot, extreme long shot, long shot, medium shot, medium close up, close up, extreme close up
Camera angles: low angle, high angle, eye level shot, bird’s eye shot, ground level shot
Narrative mode: linear narrative, non-linear narrative, first person perspective, third person perspective, third person limited, third person omniscient.
Narrative tense: past, present, future.
Plot:
Anti-climax
Climax
Conflict
Denouement
Exposition
Inciting incident
Resolution
Subplot
Symbolism
It’s essential to use the correct metalanguage in your essays, because without it, you can’t effectively analyse how a filmmaker has constructed their film to convey meaning. Strong film analysis depends on metalanguage: if you’re analysing filmic techniques like cinematography, sound and mise-en-scène using the right metalanguage, you’ll develop much more insightful interpretations of your film.
Directors make deliberate choices to shape meaning, just as authors do with language. If you’re only analysing what is said, rather than how the story is told on screen, you’ll struggle to demonstrate a nuanced understanding of the film. Using metalanguage allows you to unpack a director’s choices with precision and depth - a skill that is essential for success in Text Response essays.
If you want to learn more about the key metalanguage you should be using to analyse your film, check out this video!
This study guide was written by Remy Hannan and Lisa Tran.
Like a House on Fire is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.
Contents
Historical Context
Themes
Essay Planning
Essay Topics
Resources
1. Historical Context
Kennedy’s anthology of fifteen short stories, Like a House on Fire, explores the impacts of familial and social issues on an individual’s sense of identity and humanity, illustrating the vast spectrum of human condition. Having lived a majority of her life in Victoria, Australia, Kennedy’s collection follows the stories of various protagonists whose voices are characteristic of Australian culture and society. As the text is set in the backdrop of rapid Australian modernisation, the novel also depicts the paradoxical nature of technology, as various characters are depicted to be torn between confronting or embracing this fundamental change. Despite approaching the stories of characters conflicted by modern and social challenges with both humour and cynicism, Kennedy’s lack of judgement is notable; it is with this empathetic stance that she is able to the universal nature of human emotions to her readership.
2. Themes
Identity
Kennedy explores the theme of identity mainly through physical injury, as various characters with physical trauma find themselves to be agonisingly limited within the confines of their condition. In Like a House on Fire, the narrator’s sense of identity becomes intertwined with his subsequently decreased masculinity, as his back injury leaves him unable to physically take care of his family, and his wife begins to undertake stereotypically masculine roles within the household. In tandem with this, Roley’s wife in Little Plastic Shipwreck is rendered humourless and witless due to her brain injury, distorting her once enthusiastic self into one shadowed by her illness; further emphasising the link between physical and mental identity.
Order and Disorder
The inherent tension between order and chaos is continually examined throughout the anthology, particularly in Like a House on Fire, in which perfectionistic order and scatter minded disorder are embodied in the unnamed narrator and his wife respectively. As the two individuals are unable to establish a compromise between their contrasting personalities, Kennedy suggests that this lack of cooperation is the core reason for the deterioration of their marriage, and their subsequent misery. The notion of disorder is also symbolised by the domestic setting itself, as Kennedy depicts various characters who feel pervasive ennui and dissatisfaction within the ‘chaotic mess’ of their household environments.
Longing
Each protagonist in the collection is portrayed as possessing some object of longing, whether it be material or emotional. Kennedy utilises scattered verses of prose within her writing to communicate these human desires, building upon their significance poetically. In Static, Anthony attempts to negotiate his own wishes with those of his wife and family, leading him to wonder whether anything present in his life has been created by his own will or merely his eagerness to please others. His desire for various types of happiness, embodied in material concepts such as money or children, suggest that the human condition is built upon the foundation of dissatisfaction; that innate longing is what ultimately defines us as human.
Love
The theme of love is present in each story of the collection, often used as an instrument through which the characters can heal and grow from their physical or spiritual pain. While suggesting that true love endures all hardship in Like a House on Fire, Kennedy also illustrates the various sacrifices one must make in order to protect the ones you love. Such is depicted in Five-Dollar Family, as a new mother makes the difficult decision of leaving her ‘loser’ boyfriend to give her child a chance at the best life possible, despite the unfortunate situation he has been born into.
Communication
The vital importance of communication within families is emphasised in the anthology, as the lack of effective communication perceivably exacerbates dysfunctional relationships. The crushing regret of a son is explored in Ashes, as he laments his lack of communication with his father who he can no longer speak to. However, Kennedy empathetically depicts the difficulty of communicating potentially painful messages to loved ones in Waiting, as the protagonist anxiously agonises over the prospect of telling her husband that she may have another miscarriage following an excruciating string of lost children.
Empathy
In tandem with longing, Kennedy asserts that empathy is vital to the survival and happiness of a human being. This notion is aptly depicted in Little Plastic Shipwreck, in which the death of Samson the popular show dolphin results in Roley’s revelation of his manager’s complete lack of empathy, and subsequently the abundance of his own. Similarly, the salient importance of empathy is emphasised in Flexion, as the cold-heated and harsh victim of a brutal tractor incident repairs his marriage by allowing himself to feel more empathy for those who have supported his recovery and been understanding of his bitterness.
Family
The anthology centres around the concept of family, as both dramatic events unfold directly due to altercations and misunderstanding within the household. By depicting both the dramatic and mundane events that contribute to creating dysfunctional families, Kennedy asserts that kindness and understanding is vital to the maintenance of a healthy and loving family. The power of family is also depicted in Like a House on Fire, as the protagonist’s dissatisfaction with life is instantly washed away by the actions of his children, who remind him that despite his life-threatening injury, his family is his constant source of love and support.
If you'd like to see how themes like these can be identified and analysed in one of Kennedy's short stories, you might like to check out our Close Analysis Of 'Cake' From Like A House On Fire blog post!
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Question 1: ‘Gender plays no role in the tragic identities of the characters in Like a House on Fire.’ To what extent do you agree?
Suggested contention: Despite the ubiquitous nature of hardship, the short stories of Like a House on Fire explore the effect of gender roles on individuals’ sense of self-worth.
Body paragraph 1:
Pain is depicted to have no partiality to either gender in Like a House on Fire.
Much of the trauma explored throughout the anthology is a result of lack of emotional connection or familial misunderstanding arising through individual actions, rather than due to stereotypes associated with gender.
Kennedy suggests that there is no gender more at fault for these issues, but rather that it is mindset that determines one’s identity and fate, especially in relationships. For example, just as the protagonist’s wife in Flexion makes the mistake of cruelly wielding her physical dominance over her husband, the passive boyfriend in Five-Dollar Family is cruel in his apathy toward his girlfriend and their newborn baby.
Body paragraph 2:
Despite this, Kennedy explores the social views that plague men as a result of their gender, compelling to limit their identity to meet these fatal expectations.
The concept of masculinity is explored throughout the collection, often presented as an inferiority complex for many male protagonists due to their physical disabilities. The societal idea that men should be physically strong in order to be able to provide for his family is heavily condemned in Like a House on Fire, as Kennedy depicts the destructive consequences of such on one’s sense of self-worth.
For example, the narrator of Like a House on Fire perceives his own physical weakness as unmanly, and subsequently himself as an unfit and useless father. As he is unable to pick up the family’s Christmas tree, the tree seller looks towards him with disdainful judgment, perceiving the protagonist’s wife lifting the tree to be ‘destroying the social fabric’.
In addition to this, the narrator’s extreme attempt to physically help the family results in the destruction of the precious family nativity scene, symbolising the idea that social constructs of masculinity inevitably ends in destruction, as the narrator’s inability to recognise his physical limitations only exacerbates the problem.
Body paragraph 3:
In tandem with this, the collection of short stories also examines the social limitations placed upon women solely due to their gender.
The difficulty for women to balance their roles of mother and career woman is explored in Cake, in which the protagonist Liz fails to separate one from the other, leading her to feel dissatisfaction in both. Kennedy ostensibly denounces the social expectations of women to be domestic helpers, as Liz faces judgement at work for bearing a child, whereas her husband is exempt from any judgement despite it also being his son.
The complicated and personal concept of pregnancy is further depicted in Waiting, as the protagonist agonises over the fact that she may lose another child due to a miscarriage. As the fear of disappointing others takes over her own pain and anguish, readers of the collection are invited to consider the harrowing expectations placed on women to be successful mothers.
Question 2: ‘Like a House on Fire shows that family relationships are never perfect.’ Do you agree?
Suggested contention: Through the constant depiction of dysfunctional families in Like a House on Fire, Kennedy asserts the importance of communication and empathy in repairing broken relationships, and suggests that perfect families are unrealistic.
Body paragraph 1:
Every story in the collection depicts a family undergoing some kind of hardship, whether it be financial, emotional or spiritual. Through her depiction of broken families, Kennedy suggests that emotional stress and tension within families is sometimes inevitable, even in a loving and supportive environment.
The title of the collection, Like a House on Fire, is emblematic of the dual nature of families, as while the phrase symbolises the chaos and disorder of one’s family dynamic, it also symbolises the love and extreme passion that often coexists alongside it.
For example, while the protagonist in Like a House on Fire reminisces upon the ‘fiery’ sexual and emotional happiness of their marriage, he also deplores their current period of domestic stress, describing it as a ‘house on fire’.
Body paragraph 2:
Kennedy depicts the need for family members to engage in open and honest communication with one another to overcome the effects of trauma.
For example, in Ashes, Chris is only able to find closure by finally understanding the mindset off his parents through effective communication. His newly found ability to express his true emotions to his mother allows him to finally perceive the grief that was masked by her supposedly ‘cruel’ actions, and subsequently finally achieve a stable relationship with her.
Body paragraph 3:
Kennedy also advocates for the exercise of empathy between family members in order to find harmony within dysfunction.
This is apparent in Flexion, in which the seemingly emotionless protagonist and his wife undergo their respective journeys of expressing empathy for the other. As their marriage significantly improves due to their increased understanding of each other, Kennedy promotes the importance of vulnerability and openness within families.
Beyond the Basics:
How does Kennedy’s short story format add to the reader’s understanding of the themes uncovered in the novel?
The range of diverse, Australian voices depicted in the anthology work to portray the vast spectrum of the human condition.
The concise narrative present in each of the fifteen stories work to provide the readership with an extremely personal point of view that emphasises the emotions and mindset of the protagonist, furthering the sense of authorial empathy and compassion.
It is through this almost voyeuristic advantage we subsequently possess as readers, that we are able to fully understand the depth of each character’s humanity and sense of identity, as well as the various struggles that follow the course of an individual’s life.
Kennedy’s ordering of the short stories also contributes to the reader’s depth of understanding. There is no apparent chronological order present in the collection, but rather a varied order of stories, depicting its diverse range of voices. For example, while the key themes and tones of the anthology remain consistent throughout, other factors such as age, gender and life experience of the protagonist vary in order to provide contrasting character viewpoints.
As such, this variation in narrative voice allows Kennedy to present her stories as universal human experiences, emphasising the ubiquitous nature of the themes present in Like a House on Fire.
Finally, the varied structure within each individual story lends an optimistic tone that underscores the entirety of Kennedy’s work. While some stories such as Flexion begin with the inciting event, others emphasise the chain of events that occur in leading up to the key event, as depicted in Ashes. As the undertones of hope and faith are present throughout the collection, the varied plot structure of each story allows Kennedy to assert that no matter the circumstance of hardship, one can always find a glimpse of optimism within its depths.
In Like a House on Fire, Kennedy illustrates that perfect families do not exist, and that family dysfunction is inevitable. To what extent do you agree?
The characters in Like a House on Fire are largely defined by social expectations of their gender. Discuss.
In Like a House on Fire, how does Kennedy show that in even times of hardship, human strength will prevail?
‘The range of narrative points of views used in Like a House on Fire illustrate the characters’ deeply personal responses to life’s challenges.’ Discuss.
‘…As the lifetime habit of keeping his responses to himself closed his mouth in a firm and well-worn line.’ How does Kennedy present communication as a key issue in the relationships in Like a House on Fire?
If you'd like to see A+ essays on these essay topics, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Like a House on Fire Study Guide! In it, we also cover advanced discussions on topics like authorial views and values, symbols and motifs and context completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here.
Have a go at analysing it yourself first, then see how I've interpreted the article below! For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis.
Information
Author: Voxi
Type of article: Opinion piece
Publisher: Clt Alt
Date of publication: 23rd of May, 2009
Contention: We should embrace the digital technology as it has, and will continue to revolutionise our lives in regards to intelligence, convenience, communication and more.
Number of article(s): 1
Number of image(s): 1 (not disclosed on VCAA website due to copyright laws)
Source: VCAA website
Note: Persuasive techniques can be interpreted in many ways. The examples given below are not the single correct answer. Only a selected number of persuasive techniques have been identified in this guide.
Keyed In
#1
Persuasive technique: Imagery
Example: ‘Keyed In’
Analysis: The term ‘keyed in’ depicts an image of keys on a laptop or computer – one of the important inventions in regards to digital technology as well as the idea that those who are ‘keyed in’ are ‘up-to-date’ with its progression. This invites support from the reader since it is desirable to be ‘up-to-speed’ with the latest developments and trends – especially since new technology allows such accessibility.
#2
Persuasive technique: Type of publication
Example: Online journal
Analysis: By publishing the article on an online platform, Voxi aims to target ‘tech-savvy’ readers who are more inclined to appreciate technology than those who read other publication avenues such as newspapers.
#3
Persuasive technique: Acknowledging the opposition
Example: ‘Some people are naturally afraid of the new, challenged by the discomfort of being dislodged from the known, the safe, the predictable, the tried and the tested – in short, their comfort zone.’
Analysis: Voxi invites readers to view him as someone who is considerate and rational by displaying an understanding front towards those opposed to the use of technology, ‘some people are naturally afraid of the new.’
Example: ‘…maybe they have a point – sometimes it’s good to take time out and just enjoy what you’ve got.’
Analysis: Through admitting that perhaps those opposed to the development of technology may ‘have a point’, Voxi aims to manipulate readers into trusting him since he appears genuine and fair towards the issue.
#4
Persuasive technique:Positioning advocators in a positive light
Example: ‘They see possibilities for making things better where other people want to chill, just responding to the pleasure of the moment.’
Analysis: By positioning technology advocates as people who ‘see possibilities for making things better,’ Voxi attempts to coax readers into support since readers tend to respect and admire those who take action, rather than someone who is static and merely wants to ‘chill.’
#5
Persuasive technique: Characterisation of supporters as heroes
Example: ‘History’s full of moments though, when human beings have been moved forward by people who have been like the grit in an oyster. Gritty people produce pearls.’
Analysis: Though the characterisation of technology advocators as ‘gritty people,’ Voxi urges readers to view those people with admiration as their determination and dedication has lead to the ‘produc[tion of] pearls’ or in other words, valuable inventions.
#6
Persuasive technique: Colloquial Language
Example: ‘Well, sort of.’
Analysis: The use of colloquial language, ‘well, sort of,’ is intended to position Voxi as a someone who appears to be a ‘friend’ as he attempts to display a light conversational tone. As a result, readers may be more inclined to support his opinion since they are more likely to listen to a ‘friend’ than a formal authority figure.
#7
Persuasive technique: Characterisation of advocates as hard workers
Example: They’re the ones who ask questions, who tinker away in the garage, who turn up on ‘The Inventors.’
Analysis: By characterising advocates of technology as hard-working, ‘tinker[ing] away in the garage’, , Voxi relies on the readers’ compassion to embrace modern technology as it is clear that much effort and time has been placed in these inventions and therefore shouldn’t be immediately disregarded.
#8
Persuasive technique: Appeal to a sense of failure
Example: ‘In our lifetime we haven’t had a Copernicus or Galileo reorganising the cosmos, or a Darwin challenging us with a radically new theory of evolution.’
Analysis: Voxi tries to influence readers to step up to past generations’ successes such as ‘Copernicus [and] Galileo reorganising the cosmos, or a Darwin challenging us with a radically new theory of evolution’ through the depiction that the current population has failed to produce any great intellectuals.
#9
Persuasive technique: Repetition
Example: ‘…revolutionise…’
Analysis: The repeated word ‘revolutionise’ is an attempt to instill into readers’ minds that there is a dramatic change currently occurring in society and as a result, they should try to keep ‘up to date’ with ‘the new world’.
#10
Persuasive technique: Rhetorical question
Example: ‘Why wouldn’t you want it in your life?’
Analysis: The rhetorical question, ‘why wouldn’t you want it in your life?’ urges readers’ support since it is apparent that there is no reason why people should not accept technology, especially since in the future, readers will be able to ‘lead happy, safe and fulfilling lives in a free and peaceful world’ – something that would result in satisfaction.
#11
Persuasive technique: Appeal to a sense of youth
Example: ‘It’s older people who are less familiar with it who are suspicious about it, or even
afraid.’
Analysis: By creating a dichotomy between the ‘older people’ and the younger generation, Voxi aims to manipulate readers into believing that only the elderly are ‘suspicious…or even afraid’ of technology, whereas all other generations should have no issues and welcome the ‘digital world’ with open arms.
#12
Persuasive technique: Reference to modern activities
Example: ‘Global shopping, online banking, working out the itinerary for your holiday, looking up Google Maps and Street View to check out where your friends live, and that’s not to mention Facebook.’
Analysis: Through referencing to everyday, modern activities such as : ‘Global shopping…looking up Google Maps and Street View…not to mention Facebook’, readers may be compelled to join the population in using technology since they are aware that many people do find these digital advances convenient and applicable to their daily lives.
#13
Persuasive technique: Use of logic and reasoning
Example: ‘Sure, some people stress about privacy issues, but these can be resolved. Google is not allowed to film defence sites from Google cars and Google bikes. Let’s face it, the pictures we see are not real-time images. You can protest about them anyway and get them removed or pixellated if you’re really worried.’
Analysis: Readers are encouraged to support Voxi’s stance since his use of logic, ‘you can protest about them anyway’ and reason, ‘let’s face it, the pictures we see are not real-time images’ makes clear that ‘privacy issues’ is not a valid point to denounce technology.
#14
Persuasive technique: Humourous tone
Example: ‘Besides, the hot air balloon people are always hovering over my back yard and looking into my windows too.’
Analysis: Through adopting a humourous tone in pointing out the irony of people’s concerns about ‘privacy issues’ when ‘hot air balloon people are always hovering over my back yard and looking into my windows too,’ Voxi attempts to assure readers that online privacy is no less risky than their privacy at home.
#15
Persuasive technique: Appeal to convenience
Example: ‘Why go to a library when you can sit at your desk and look up Wikipedia or Google Scholar, or Ask Jeeves?’
Analysis: Through posing the rhetorical question, ‘Why go to a library when you can sit at your desk and look up Wikipedia or Google Scholar, or Ask Jeeves?’, Voxi appeals to readers’ sense of convenience since the benefits of merely ‘sitting’ at home clearly outweighs the effort of travelling to a library.
#16
Persuasive technique: Inclusive language
Example: ‘Let’s be excited – keep being excited.’
Analysis: The incorporation of inclusive language, ‘let’s’ urges readers to feel as though they are directly part of the issue or somehow responsible for the outcome and thus, may lead readers to become advocators of technology.
#17
Persuasive technique: Juxtaposition
Example: ‘We’d still be swinging in the trees or huddling in caves if we’d taken the view that new things are harmful or dangerous or unpredictable.’
Analysis: Through the juxtaposition of current society and history when ‘we…sw[u]ng in the trees or huddl[ed] in caves’, Voxi intends to demonstrate that without taking some risks and disregarding that ‘new things are harmful or dangerous or unpredictable’, society would not have come as far as it has now, and thus, readers should continue to push forward with the new digital age.
Whether Language Analysis (or Analysing Argument) is your favourite section of the English course or you just wish you could read an article without analysing the effect of a generalisation, here are some quick and simply tips to ensure you can maximise your marks in Section C! For a detailed guide on Language Analysis including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis.
Improve your metalanguage
What is Metalanguage?
Words that describe language!
For example:
The words infer
The words insinuate
The words suggest
Create a word bank full of different words you can interchange throughout your analysis to eliminate any repetition!
If you’d like to see a list of sentence starters to help you broaden your vocabulary for Analysing Argument, check out this blog.
Do not reiterate what the writer is saying
Remember you are analysing the language the writer uses, not arguing the contention of the writer!
Therefore avoid words such as: states, highlights, uses, utilises, shows etc.
What not to do: The writer states that creating a community garden will make people “healthier and happier”
What to do: The words “healthier and happier” suggest that creating a community garden will improve the lifestyles of citizens.
Analyse the language not the technique
By now we are probably aware that puns are “often humorous” and “gain the reader’s attention”. However instead of using these generalised textbook effects, analyse the words WITHIN the pun and see how these words may affect readers.
What not to do: The pun “A new cycle” in the headline is humorous and therefore captures the attention of the reader.
What to do: The pun “A new cycle” draws a direct link between cycling and advancement in society urging readers to view cycling in a positive light.
Always ask yourself: why?
Why is the writer using particular language? Why may the reader react with concern?
Make sure the answers to these questions are in your analysis!
What not to do: Consequently readers may feel concerned.
What to do: Readers may feel concerned due to the increase in fast food consumption.
If you'd like to see exactly how to achieve this within your essays, check out our How To Write A Killer Language Analysis ebook for a step-by-step explanation of how to clearly and effectively answer 'why' and nail Analysing Argument!
Don’t forget the visual
As silly as it may sound, it is quite easy to forget to analyse the visual when you’re under pressure. The visual can either complement the article or oppose the views of the writer.
Mention what the visual:
Symbolises
Suggests
And how readers may react to the visual
Keep your introduction and conclusions as brief as possible
Most of your marks will come from your analysis so there is no need to spend copious amounts of time perfecting your introductions and conclusions. Keep them short and concise!
Pick and choose what to analyse
It is simply impossible to analyse every single technique the writer uses in their article. Therefore pick the words/phrases that you find most persuasive. You will not be marked down for what you do not analyse!
The Importance of Crafting Emotionally Impactful Narratives
The Creative Response in Unit 3 VCE English offers you an opportunity to showcase your understanding of literary elements through imaginative writing. While analytical skills are crucial in VCE English, the ability to craft an emotionally resonant piece can elevate your work from good to outstanding. Think of emotional engagement as the invisible thread that connects your reader to your narrative. When you successfully tap into universal human experiences and feelings, you create a piece that resonates beyond the confines of the classroom.
Setting the Scene: Evoking Emotions Through Description
The foundation of an emotionally resonant narrative lies in its ability to transport the reader into the world you've created. This is where you can leverage sensory descriptions. Incorporating sensory details to create mood and atmosphere is particularly important at the inception of your Creative Response, as it immediately immerses the reader in the emotional landscape of your narrative. Here is an example:
“I'm scurrying down the steps at Flinders Street station, heart pounding as I glance at my watch, cursing under my breath. The deafening screech of tram brakes and the anxious chatter of fellow commuters only heighten my panic. Sweat drips from my forehead as I weave through the sea of commuters, my laptop case banging against my leg with each hurried step”.
This opening scene not only engages multiple senses (sight and sound) but also establishes a crowded and tense atmosphere that sets the emotional tone for the narrative ahead.
As you progress through your narrative, continue to use sensory details strategically. By appealing to the senses, you invite the reader to experience the emotion alongside your character. However, be careful not to overload your piece with too much sensory detail as this can have the opposite effect of overwhelming your reader and can actually dilute the emotional impact. The key is to strategically choose your sensory details, selecting those that best serve the emotional tone you're trying to convey.
Pacing and Structure
The way in which you structure your Creative Response can significantly elevate its emotional impact. A relevant analogy is to think of your narrative as a roller coaster ride of feelings. That is, you want moments of tension and release which help to keep your reader engaged. An effective technique is to vary your sentence length. For instance, short, sharp sentences can create a sense of urgency, while longer, flowing sentences can foster an atmosphere of calm. Here is an example:
“The news hit hard. Breath caught. Heart pounding. Vision blurred. Then, slowly, as reality sank in, a strange calm washed over me, like the gentle lapping of waves on a distant shore.”
Notice how the pacing changes, reflecting the character's emotional journey. Varying your structure like this not only keeps your writing dynamic but also guides the reader's emotional experience.
Crafting Powerful Endings
Now that you've successfully captivated your audience through your opening scene and taken them on an emotional roller coaster, the conclusion is your final opportunity to make a lasting impression.
A technique to consider is to bring your narrative full circle, reinforcing themes from the beginning but with a new emotional context. Doing so can create a sense of resolution while also highlighting the emotional journey that's taken place.
Alternatively, you might decide to adopt an open-ended conclusion which leaves room for reflection. This technique can be particularly impactful if you've explored complex emotions throughout your narrative, as it invites the reader to continue engaging with the themes and feelings you've presented.
Whichever approach you choose, it's important to aim for authenticity. An abrupt or overly dramatic ending can undermine the emotional credibility you've built throughout your creative response.
Revision Strategies for Emotional Depth
Rest assured that crafting an emotionally resonant narrative rarely occurs after a single draft.
Revision is the time for you to refine the emotional core of your Creative Response. An important aspect of revision you should consider is ensuring your piece connects with a wide audience. While your narrative may be personal, the emotions it evokes should be universal. Ask yourself: Have I tapped into relatable experiences and/or feelings in my audience? Have I included too many clichés?
Remember, feedback is a gift in the revision process. It's good practice to share your work with your peers, English teacher, or tutor. Getting a fresh pair of eyes on the piece can help identify emotional moments that aren't resonating as strongly as you intended, or pinpoint moments in the narrative where emotional impact could be amplified.
Ultimately, the most memorable Creative Responses are those that make us feel - so don't just tell your story, make your reader live it!
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