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If you’ve been studying John Donne’s metaphysical poetry, you’ve probably noticed that his works are riddled with different symbols and motifs. Embedded throughout his poetry, these literary devices may seem slightly abstruse to the reader. You may find yourself asking: What do they mean? And in relation to what? Even Donne’s contemporaries failed to appreciate his poetry. The neoclassical poet John Dryden rejected Donne’s works because it “affects the metaphysics” and “perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love”.
One thing that you should understand about Donne’s romantic poetry, is that while his stark images of compasses and spheres may seem foreign to you, they were also alien to his predecessors too. So, if you’re struggling to comprehend his enigmatic poetry, not to fear! Because John Donne’s poetic peers didn’t initially get it either.
The reason for this is because Donne refused to conform to the poetic conventions of the time. The poet emerged as an idiosyncratic in the Elizabethan era, the Renaissance. Unlike his contemporaries, he didn’t employ elaborate descriptions of symbol natural landscapes, classical myths and female beauty. The reason for this was because Donne did not believe in the one-sided love and emotional frustrations that his contemporaries tried so hard to convey in such imagery.
Donne’s poetry was so different because he rejected and even openly mocked the idea of such a high-minded religious worship in literary romance. In “A Valediction Forbidding Mourning,” Donne criticises the “tear-floods” and “sigh-tempests” of the “dull sublunary lovers.”. In a similar vein, Donne satirises the “sighs” and “tears” (The Canonisation) so prevalent in Petrarchan works.
Instead, Donne advocated for a different kind of love. He espoused a love that comprised of the Body and the Soul, which was a dominant intellectual issue in the literary treatment of love in the 1590s. More specifically, Donne embraced the balance between Platonic love and the Ovidian love.
Platonic: Platonic love is essentially love that surpasses the mere sensual and physical. It is a very spiritual concept and is based on reason, affection, respect, intellect and compatibility.
Ovidian: Ovidian love
The idea of balance derived from discoveries being made about the human body during the Elizabethan era. The Renaissance was fundamentally a time of discovery (particularly in the area of science). Elizabethans believed that elements in the body needed to be balanced,
Top Tip: When you’re analysing John Donne’s poetry and writing essays, be aware of Donne’s overarching message in his romantic poetry. Most explanations about his use transcendent relationship with his lover is thus determined by obtaining a balance between the spiritual and earthly pleasures. Most examination questions will leave room for to discuss the connection between the material and the divine world! Make sure to understand this, because this is a huge component to his poetry.
Good luck!
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We’re not supposed to judge a book based on its cover, but for some reason, we just can’t help it. Sure, we may not be able to tell if we’re going to enjoy the book, nor can we tell what exactly it’s about, but we can tell the tone, set our expectations, and most importantly, guess at the genre. Look at these three book covers and note how they perfectly show their genres - Sci-Fi, Horror and Life Drama, respectively.
Genre is a way of categorising media. We split books, film and music into genres in order to better talk about them and because humans have a strange desire to sort and categorise things. Within whatever medium, genres display certain structures, characters and tropes that audiences expect from that genre. Audiences like to be able to tell the genre of a text because it’s comfortable. If I go to see a superhero movie I expect wacky costumes, cliche dialogue and a final battle scene that the heroes win - were these expectations not to be met, I would likely be a little bit peeved off.
But why should you care about genre in VCE Literature? It’s not on the study design?
Well, not explicitly. In each AoS of the study design, you must engage with ‘the ways the literary forms, features and language of texts affect the making of meaning’, and/or ‘the ideas of a text and the ways in which they are presented’. Genres are a feature of texts and are one of the ways that a text will present its ideas. Horror is the most notable example of a genre that uses its tropes to send a message - It Follows is a horror where the monster stands in for sexually transmitted disease, Carrie uses horror to show the horrors of high school, Frankenstein is a criticism of those who would ‘play god’. In the Literature study design, the horror genre is represented byBram Stoker’s 1897 masterpiece, Dracula.
I invite you to think hard about the horror films you’ve seen and to try to place Dracula into our modern view of horror. It’s hard to put Stoker’s vampire on the same stage as the Babadook, Annabelle or even the ‘70s slasher craze. This gives us an incredible opportunity to consider how audiences engaged and continue to engage with genres. In order to analyse genre, it is essential to recognise what the audience’s expectations were of a genre, and how the author has utilised those expectations for their own ends. Let’s consider Dracula in context.
Dracula is a horror novel. But, we usually don’t think about those uptight Victorians reading texts that were designed expressly to scare. The Victorian era was actually one of the golden ages of horror literature though. But, it is distinctly different from our modern understandings of horror as defined by trailblazers like Stephen King. So, why is it different? It is here we must consider the sub-genre. If you have read anything about Dracula, you’ll note that it is referred to as a ‘gothic horror’. The gothic genre of literature encapsulates some of the 19th century and certainly the Victorian period’s (1837-1901) best literature. Dracula of course belongs to this group, but it blows up around 1818 with Mary Shelly’s Frankenstein. Edgar Allen Poe, with his short stories and poetry, is widely lauded as the ‘Father of American Gothic’, with ‘The Fall of the House of Usher’ published in 1839. Note the dates here. Stoker published Dracula in 1897, a good 79 years after Frankenstein began haunting readers. Which means he had an established and large genre to work with. So, how did Stoker use the gothic in Dracula?
Tropes of the Gothic
1) The Gothic Monster
The vampire myth used by Stoker is turned into the quintessential gothic monster. Dracula existed in the Victorian mind alongside Frankestein’s monster, Mr. Hyde, and Poe’s mixture of humans made monstrous and surreal monsters like that in ‘The Masque of the Red Death’. The defining feature of the gothic monster is its role in the story as a representation of something wrong with society, whether it’s increasingly amoral medicinal science, human greed or perverted desire.
2) The Creepy Castle
The creepy castle doesn’t have to be a castle. It can be a mansion, a university or the graveyards of London. The important thing is that the setting of the gothic novel should always be - by default - terrifying and evoke a sense of danger. You can never get comfortable in Dracula’s castle, nor in Seward’s asylum, and neither can the characters.
3) Damsel/s in Distress
For sure an outdated trope, but a constant in the gothic. It’s a quick and simple way to show that the innocence of young women is threatened by a malignant force. In Dracula, look to Mina, Lucy and Mrs. Westenra. But what happens when the damsel saves herself?
4) Omens, Portents, Visions
Visions in dreams? Random wild animals escaping from ships? Ships docking with a completely dead crew? Random changes in the weather? You might be dealing with a gothic villain, or going mad. In either case, Renfield, Dracula, Mina and Jonothan all deal with portents and visions.
And This Is Important Because…
Stoker has followed the predominant tropes of the gothic horror genre. Why is this important for our analysis of Dracula? The ways in which authors use genre and other stylistic elements like form, voice or plot relate directly to their intentions. If we investigate the particular aspects of Stoker’s use of the gothic, we may better understand the views and values that he is promoting. For instance, let’s take Dracula as the gothic monster. Since the gothic monster is always a way to reflect society back onto itself, how is Stoker doing that? A feminist analysis might take Dracula as a reflection of sexual deviancy, which then ties into his constant threat towards women. A post-colonial analysis might question the foreignness of Dracula, and view him as a part of the intrusiveness of foreigners in English society. Either way, you’re touching on a view or value presented by Stoker, and tying it to an aspect of the gothic genre in a way that conveniently also touches on characterisation.
Let’s complicate things a little more. The ‘Damsel in Distress’ trope is clearly evident in Dracula, but what view or value is Stoker commenting on by its inclusion? The simplest answer is that, by showing that women cannot save themselves, Stoker is saying that women are inherently weak and need to be saved by men. But this answer isn’t sufficient for a number of reasons. Firstly, what are the women weak to? Is it a physical mismatch between the women and Dracula, keeping in mind that Dracula is also stronger than the novel’s men? Or is it a symbolic weakness to some aspect of Dracula’s character, be it sexuality or magic? Secondly, and more importantly, are all the women victimised by Dracula the same? Well, obviously not.
It could very well be argued that Stoker is subverting the ‘Damsel in Distress’ trope by actually giving us a woman who is able to be her own saviour (which is actually becoming a trope in itself nowadays!). The dichotomy between Lucy and Mina is a crucial aspect of the text, and the way that Mina’s character doesn’t quite fit into the ‘Damsel in Distress’ archetype is a major interpretative dilemma. By considering the genre tropes, Lucy is clearly a ‘Damsel in Distress’ who cannot save herself and is unduly victimised by Dracula. It can be argued that her implicit promiscuousness is punished through her murder, but in whatever case, she is distressed and must be saved. Mina, however, has an entirely different view of her distresses. Not only does Mina take on a caring role towards Jonothan - in which Jonothan becomes a ‘Master in Distress’ - she actively supports the attempts to save her and kill Dracula. By compiling the journals, letters and newspaper clippings into the epistolary that we the audience are reading, and using herself as a window into Dracula’s mind through their psychic connection, Mina proves to be a means by which to save herself from her distress. So, the question of what Stoker actually thinks about women is still quite open: Lucy is seemingly punished for her character flaws, which indicates a misogynist view of women’s sexuality, but Mina is praised for her use of masculine qualities like leadership and stoicism. Is Stoker saying women should be more masculine? Less masculine and more traditionally feminine? This entire discussion revolves around how and why the ‘Damsel in Distress’ trope is being followed or subverted.
Using Genre in VCE
Whilst a genre-based analysis (or a structural analysis) can be a fantastic way to open up discussion and leads to important questions about views and values, the way I have presented it may appear to be another useless and long-winded thing you have to try to shove into an essay when you already have to balance so much in Literature! Fear not, because there are a couple of really easy ways to fit genre into essays without taking up loads of space.
Option one is to use a genre trope as the basis of a paragraph. If your essay contention is that…
‘Stoker presents the dangers of foreign immigration to England at the height of its colonial empire’
…then you can easily write a paragraph discussing that…
‘Stoker employs the gothic trope of a supernatural monster in Dracula, using this vampire as a stand-in for foreigners in England’.
This paragraph would discuss Dracula’s characterisation, and the settings of Transylvania and London, whilst investigating Stoker’s views on England’s colonialism and race. In a Developing Interpretations or Close Analysis essay, you’ve just touched on several key criteria, including the author’s views and values, your own credible interpretation of the text and how the text presents its messaging (through characterisation and setting). You can do all these things without mentioning genre, but by explicitly using the language of genre analysis you are likely separating yourself from the student next to you - who had a similar idea but described it in a less interesting way. This is the utility of understanding genre, it gives you the words and concepts necessary to improve your writing and interpretation. The ‘Gothic monster’ is an easy way to describe an otherwise GIANT concept.
Another way is to add it to other analyses in passing. Instead of saying “Dracula presents Lucy and Mina as foils to demonstrate the ways in which modern women’s promiscuity is ultimately harmful”, you can say “the presentation of Lucy and Mina as two ‘damsels in distress’ in dichotomy with each other demonstrates the differing ways in which Victorian women could doom or save themselves”. The latter sentence has not significantly changed the content of the first, still referring to the women’s opposition to each other, but by phrasing it with ‘damsels in distress’ I leave open the possibility of discussing not just Lucy’s promiscuity, but also Mina’s conservative womanhood.
Finally, you need not even mention genre or its tropes in the essay, just use it as a thinking tool. If you go back through the previous section of this blog, you’ll see just how many questions I am asking about the tropes and ideas I am discussing. By using the trope as a jumping-off point for a series of questions, I can develop a nuanced understanding of multiple views and values and the ways in which they interconnect. Take a trope like the ‘creepy castle’ and ask:
“Why would Stoker put Dracula manor in the text?”
“Because it sets up the ‘otherness’ of Dracula.”
“Why do we need to know that Dracula is the other?”
“Because he represents a supernatural foreignness that we need to be scared of.”
“Okay, but why is it right at the start, why is it from Jonothan’s perspective?”
All of these questions offer ways of breaking down the text and they will naturally lead to questions about structure, characterisation and views and values. In doing this, you can start to come up with ways to turn those questions, or the order of those questions into an essay structure. Moreso, this type of questioning is what your teacher, tutors and top-tier Literature students are doing. It is a constant process of asking, answering, reconsidering, reasking and synthesising. And genre is an easy way to start the process.
When it comes to VCE Literature, ‘Literary Perspectives’ is a major component of your learning and exams. If you’re studying any of the Shakespearian texts, the idea of using different ‘lenses’ to interpret 400-year-old plays seems silly and is a difficult task to approach. So today, I’m writing a plan for a Literary Perspectives essay on Shakespeare’s Othello. The question we are looking at is:
In Shakespeare’s Othello, Venetian society is depicted as unwelcoming to the ‘Other’. To what extent do you agree?
Breaking-it-Down
So what does this question mean? Well let’s first look at the keywords, and what each means.
“Venetian Society”-This is the group of people depicted in Othello. Whilst some characters like Cassio and Othello are from other city-states, they adhere to the norms and traditions of the Venetians, who live in Venice, Italy.
“Unwelcoming”- In my essay, I consider “unwelcoming” to be active discrimination against people, with the intent of alienating them from society at large, but this is open to interpretation.
“The Other”-This is a technical term from a few different literary perspectives. On a broad level, the Other is a person or group of people who are viewed as the ‘enemy’ or different from the dominant culture.
These keywords are essentially what you have to include in terms of knowledge. But, what is the question? Our essay topic says “To what extent do you agree?”. You can choose to agree, or not at all, or be somewhere in the middle. Any of these options consider the extent of Venice’s welcomeness, but you have to use evidence, and uniquely, a literary perspective.
My Approach
Before I even choose my contention, now is the time to decide which perspective to use for my essay. A few apply to the question and Othello, but I can only have one. Using Feminism you could argue that the women of the play are ‘Othered,’ but because they lack lots of meaningful dialogue I think it would be hard to uncover enough evidence. Marxism would also be good and would argue the working-class is othered. The issue with Marxist interpretations of Othello, however, is that there are almost no lower-class characters. Marxist theorists also regularly adopt feminist and postcolonial language, meaning I could appear as though I used multiple perspectives. I think Postcolonialism is the ideal perspective. The term “Other” was coined by postcolonial theorists, and Othello’s race and place in Venetian society give me the ability to flex my understanding of postcolonialism.
So, now that I know I am writing from a postcolonial perspective, I can come up with a contention. First of all, who is the Other, according to postcolonialism? In Othello, it is quite clearly Othello himself, who is from North Africa, and is constantly the victim of racism, which begins to answer my second question; is Othello welcomed by Venetian Society? Well, it’s complicated, he’s an army commander and woos a Venetian woman, but he constantly has to prove himself worthy of these things. As a result, my contention will be somewhere in between complete agreement and complete disagreement with the question.
The othered characters in Othello are orientalised by most members of Venetian society, and must constantly prove their material worth to maintain their agency. Despite this, the women of the play act as a foil to the racism and distrust of society.
Postcolonialism
Postcolonial theory has roots in a more modern context than Shakespeare. The colonialism of the 19th century and the decolonisation of the 20th century lead to colonised people reevaluating their lives and the role of the European colonists on a global, social, and psychological scale. When writing from a postcolonial lens, you should try to focus on some key areas. The most significant is the relationship between the colonised and the coloniser. How do they interact? What do they think of each other? The next area is the psychology of colonialism. One useful theorist here is Frantz Fanon, a psychologist living during the French colonisation of Algier. His text The Wretched of the Earth stated the ways that colonised Africans were mentally oppressed, viewing themselves as less than human. This is important when discussing the Other because ‘other’ represents the dehumanisation of Native lives which caused such psychological distress. A term I used in my contention should also be explained: orientalism. This term was coined by Edward Said and it explores the way the Other is viewed by the West. To ‘orientalise’ something is to portray it as something wholly different to European cultures, and exaggerate these differences. It results in non-Europeans being viewed as ‘backwards’ or ‘savage’ and justifies racist stereotypes. Other useful Postcolonial terms include: the Subaltern, who are the groups completely outside the margins of society, or people who lack any freedom; and Agency is the ability to act out of free-will and have a degree of power.
The Plan
With my contention and some useful postcolonial terms, I can now plan each paragraph. I am doing three, but it is possible to do four or more. I follow TEEL (Topic, explanation, evidence, link) structure quite closely, and have given simple but punchy topic sentences for each paragraph. When structuring the essay as a whole, I try to make sure each paragraph builds off of the previous argument, almost like a staircase leading to my conclusion.
1. Othello is treated as an outsider and is a victim of racism and orientalisation due to his cultural background, constantly reminded that he is not fully Venetian.
My goal in this paragraph is to agree with the question. My explanation has to show that Othello isn’t welcome in Venetian society, highlighting that his blackness and European views of the Moors fits Edward Said’s theory of orientalism. I will mainly rely on Iago’s perception of Othello, and Iago as a symbol of Venice’s intoleration towards the Other.
Evidence of his culture being viewed as ‘backwards’ or fundamentally different from Venice will support this point. Iago’s first monologue (1.1.8-33) displays his intolerance to outsiders, specifically referring to Othello as “the Moor”, rather than by his name. Roderigo also displays a racist attitude, calling Othello “the thick-lips” (1.1.71). You should try to choose linguistically significant evidence. For example, Iago’s metaphor of a “black ram is tupping [Brabantio’s] white ewe” (1.1.96-7) provokes imagery of the devil (black ram) defiling a symbol of purity (a white ewe).
To link this paragraph, refer to the use of orientalism as a method of othering that turns people against Othello, and intends to keep him separate (unwelcome) from society.
2. Despite Iago’s representation of an intolerant Venice, Othello displays a pathway for the Other to prove themselves in Venetian society, although this proof is constantly reevaluated by the dominant culture.
In this argument I’m going against my previous paragraph, saying that Othello is welcome, but on a case-by-case basis. My explanation will include an analysis of how Othello is othered and orientalised, but still displays agency and has a role of authority in Venice. Othello is trusted, but it is a very loose trust that relies on Othello’s continued adherence to society’s rules. To use postcolonial language, Othello is the Other, but he is not a subaltern; he has been given a place at the coloniser’s table. But despite viewing himself as a permanent part of this table, the colonisers are always ready to remove his seat.
I could use Brabantio as evidence of this, as he had “loved [Othello” (1.3.145) but quickly begins to refer to his “sooty bosom” (1.2.85) and “foul charms” (1.2.88) when he thinks Othello has overstepped his place in Venetian society by marrying a white woman. Even though Othello has proven himself as a General, the senate makes him answer for accusations based on racism and stigma. Once Othello begins to fall for Iago’s trap of jealousy, Lodovico questions the faith placed in Othello, claiming “I am deceived in him” (4.2.310).
Therefore, despite being allowed a place within the Governmental structures of Venice, Othello’s agency is constantly at risk, being welcomed for his proven talents, but distrusted for his ‘Otherness’.
3. Although Venetian society at large is unwelcoming to Othello, either through racism or distrust, Desdemona represents an attitude of acceptance towards the Other.
This argument looks at a different aspect of the question; who is the Other welcomed by? Besides Othello, Othered characters are the women and Cassio, who is from Florence. Despite not fitting into the key areas of postcolonial thought, women still have a place in this analysis, as a subcategory of the native’s relationship with the coloniser. How does a group that is discriminated against in their own society treat someone else who is discriminated against? Well, we see in Othello that the women treat him quite well.
Desdemona is the obvious source of evidence for this. Her adoration of Othello transcends his colour and she accepts him as part of her Venetian world. She is unswayed by the racist commentary on Othello from those around her, such as Emilia, and instead represents the welcoming of the Other on a personal, although not societal level.
Thus, Desdemona in her own Otherness and orderliness acts a foil to Iago’s disorder and discrimination. As a discriminated against woman, she represents the acceptance of the other in Venetian society, and the unbridled trust of Othello that the men of Venice lack.
Conclusion
Your conclusion should include a restatement of your arguments and your contention but also look at them in another way. I usually go through my points and how they relate to each other and my contention in a logical step-by-step way, each point building on the other to reach my contention. Point 1 leads to point 2, which leads to point 3, and combined, makes my contention.
Hopefully, this brief guide to literary perspectives in Othello, focusing on postcolonialism, acts as a starting point for your studies. It’s about understanding the beliefs of the lens and then using this to form an argument. It certainly isn’t easy, so I encourage you to read around and practice this writing style as much as possible.
Once you have finished all your Literature SACs for the year, all that is left is a 2 hour and 15 minute exam that will play a major part in determining your end of year study score. It seems extremely daunting, and because many of the SACs differ from the exam task, you may be feeling a bit nervous or confused about what exactly the exam entails.
In describing the task, the exam paper states:
For each of your selected texts, you must use one or more of the passages as the basis for a discussion of that text.
In your pieces of writing, refer in detail to the passage or passages and the texts. You may include minor references to other texts.
Therefore, you must write two close analysis pieces on the exam, one on each of your chosen texts. You must use the three passages included on the exam to explore and analyse the text as a whole. Most of your piece should be analysis of what is in front of you in the exam, but you must also use evidence from outside the passages, to demonstrate your knowledge and connection with the text.
The exam will be marked against a criterion that differs from any of your SACs (although it is quite similar to your close analysis SAC). Therefore it is imperative to understand the criteria you will be marked on before beginning to study for the Literature exam, and especially before you try some practice exams. They are as follows, and can be found on the VCAA Literature exam page.
Understanding of the text demonstrated in a relevant and plausible interpretation
This criteria relates to your ability to show your comprehension of the text. The examiner will be noting whether the concepts, ideas and themes in the text are understood. They will assess your interpretation of the text, and whether it is relevant and fair in relation to the meaning in the text
Ability to write expressively and coherently to present an interpretation
Literature is a writing subject, therefore this criteria asks that you write with fluency, an expressive vocabulary and clarity. Your piece must also be a coherent, unified work that clearly articulates your discussion and interpretation of the passages and text as a whole. This criteria can also relate to your use of grammar, punctuation and spelling as the clarity of your piece can be threatened if these are not used correctly.
Understanding of how views and values may be suggested in the text
You must demonstrate an ability to identify, discuss and analyze the views and values within the text. You must be able to support your discussion with evidence from the text
Analysis of how key passages and/or moments in the text contribute to an interpretation
Your ability to analyse the three passages, as well as the text as a whole, and draw an interpretation from them. Examiners will be looking to see that you can use set material and the whole text as a basis for discussion.
Analysis of the features of a text and how they contribute to an interpretation
This criteria determines that you must identify factors including metalanguage, specific language and authorial techniques, and discuss how they create meaning. Remember that this is literature, so discussing the different elements used to construct a text (character, plot, setting, motifs, symbols” is imperative.
Analysis and close reading of textual details to support a coherent and detailed interpretation of the text
This criteria determines that you need to use evidence from the text (including quotes) in order to aid a logical and comprehensive interpretation of the text. Examiners will be looking at your ability to look deeply into smaller authorial choices, and how they create meaning.
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.
So there’s approximately a month to go before the Literature exam. Nervous? Confident? Over it?! You might be thinking that they best way to study up until the exam is to just churn out essays after essays after essays. This is a common misconception, and may even hurt your chances for the exam. You want your essays to be ‘fresh’ with original insight, not stale pieces that sound like you’ve written this a hundred times and you’re getting bored. Here are a few tips on how to study for the exam while still keeping your mind activated about Literature!
Critique critical commentary
Google critical commentary on your text. You might pick up a new insight or perspective that you’ve never thought of. These can help you inform your own original and individual interpretation of the text. It is important to note that while reading critical commentary is incredibly useful in providing ‘clever’ interpretations, examiners are really looking for your own interpretation – not a regurgitated version of other people’s analyses. Rather than passively reading critical commentary, critique it yourself! Acknowledge and file away its good points, but also form your own stance with whether you agree or disagree with that point of view. Ask yourself why that is your perspective. Developing this critical analysis skill is extremely valuable, and will put you in the mindset for the exam to provide your own original interpretation that pushes the boundaries and the envelope.
Choose random passages and annotate
Close your eyes and pick a random a couple of passages from your text. Photocopy them, print them, however you like, but the most important thing is to spend time annotating them in as much detail as possible. Focus on analysing the language for how the author constructs the text to create meaning. Note sentences that can link to the wider text. This really forces you to analyse the most random passage in the text in extreme detail, which you might have skipped over in class or in your own reading, because it might not have seemed important at the time. Who knows, the exam could throw in a surprise passage that students might not have thought to study in great detail, and you have because you’ve been analysing passages at random – not just the major key events!
Examiner reports and word bank
Look through VCAA examiner reports for sample excerpts from high scoring responses. Highlight words and phrases that sound ‘good’ – and adapt them to use yourself! There’s nothing wrong with drawing inspiration (stealing) from the examiner reports essays… after all they’re there for you to learn from. Key: you’re drawing inspiration from words, not ideas or sentences – otherwise that’s just plagiarism and won’t help at all. Create a word bank of vocabulary that suit your texts, which can be a great prompter when you’re struggling to think of a word that accurately expresses on paper what you want to say in your mind.
Timed conditions
The biggest issue with every literature student in the exam is timing. There’s always so many things you want to write and include, that it is simply not possible to include everything. Time yourself. Practice writing in timed conditions. Be disciplined with your time – going over time for the first essay to include maybe one more good point, is to sacrifice finishing your second essay.
Exams are without a doubt a stressful period of time for all VCE students, and it can be easy to get caught up and overwhelmed with expectations, wanting to prove yourself and balancing the workload of your other exams. Find time to do small things to benefit yourself for the exam without compromising your mental power (after a very long marathon). Good luck and believe in yourself!
If you, like me, grew up Asian in Australia, you might think you already know a thing or two about, well, growing up Asian in Australia. Our stories can be pretty similar—just have a scroll through the ‘subtle asian traits’ Facebook group, or have a conversation with literally any Asian Australian about their parents.
At the same time, it’s also important to recognise that everyone’s experiences are diverse, especially given how broad an identity ‘Asian’ can be. Also important is to recognise how broad and intersectional identity can be in general—intersectional meaning that race isn’t the only thing that defines any one of us. Things like gender, socio-economic status, ability, sexual orientation and religion can also be really central, for example. Each of these things can impact the way we navigate the world.
Covering a broad range of these stories is Alice Pung’s anthology, Growing Up Asian In Australia. Some of the contributors in this volume include Sunil Badami, Matt Huynh, Bon-Wai Chou, Diana Nguyen, Michelle and Benjamin Law, and Shaun Tan, and already this cross-section is fairly diverse in nature. You can also click on their names to find out a bit more about each of their work. I think this is worth a few minutes, just to get acquainted with the sheer range of Asian-Australian creatives who are represented in this book, and to locate their work within the themes they write about—in other words, having a think about the ways that cultural heritage, or experiences with family, or economic hardship permeate their work, both in the anthology and in their lives outside it.
The anthology is (perhaps quite helpfully) divided into sections which revolve around key themes, which is also going to inform the structure of this guide. I’ll be using this guide to go through an exercise that I found really helpful when learning the text, which involves:
taking two stories per section and drawing up some dot-point similarities and differences
translating two of those points into paragraphs, a bit like a ‘mini-essay’
We’ll go through some an example of what this might look like, and why it’s a helpful exercise to try.
Strine is what’s called a syncope, a shortened way of pronouncing Australian (a bit like ‘Straya’)—it refers to Australian English as it’s spoken by locals. This section of the book is all about language, and about the difficulties of juggling two languages growing up, and Badami and Tseng’s stories are great examples of this.
1. Similarity: connections to one’s mother tongue fade over time. Tseng recounts how, one by one, she and her sisters stopped learning Chinese as they progressed through their Australian education. Badami on the other hand compromises his name which stood out as too Indian when he “just wanted to fit in.”
2. Similarity: for ‘third-culture kids’, losing knowledge of their language also strains their relationship with their forebears. Badami’s mother is shocked to hear the anglicisation of his name despite the significance it carrie for her (“she spat my unreal new name out like something bitter and stringy”), and Tseng describes the experience of communicating with her father in “Chinglish” so that they can both understand each other.
3. Difference: language can be an internalised, personal experience, or a highly exposed and interpersonal one. While Tseng feels her loss of her language as a “sense of shame, a vague unease”, Badami is almost bullied into changing his name, “Sunil? Like banana peel?”
The Clan (Law & Chau)
This section delves into the complex ties that hold migrant families together. Chau’s poems are starkly different to Law’s story, so it’ll be interesting to compare how these different narrative forms work to explore those ideas.
1. Similarity: it can take at least one generation for migrant families to dig their roots into their new home. While Law’s parents are proud tourists at Queensland theme parks, he and his siblings “groan” at their comportment. Chau’s poem ‘The Firstborn’ traces his ancestry forward until he arrived, “an ABC” and his son “by amniotic sea”, both of them born into Australia.
2. Similarity: family dynamics are still traditional and therefore gendered. Law notes how his mother’s health suffered when divorcing his father, and Chau notes that the women members of his family were “cast off” the family tree “as if they were never born.
3. Difference: family history and heritage can vary in importance. Chau’s family traces back “twenty-eight generations” of history, whereas Law’s family very much lives in the present, the only tie to older generations being his “Ma-Ma”, or grandma.
4. Difference: families show their love in different ways. Whether it’s dedicating a poem to his son about his life as one of “ten thousand rivers” of Chinese diaspora into the Australian sea, or taking the kids to theme parks on weekends, all sorts of affection can hold families together.
Putting it together
So I’ve tried to choose two sections (and four stories) that are all a bit different to try and mix it up and get some rich comparative discussion out of these. You might be studying this text alone, but even as one text, remember that there’s a lot of diverse experiences being represented in it, so discussing how stories connect, compare and contrast is just as important as discussing the content of individual stories themselves.
If we do a mini-essay, we might as well go about it properly and pick some sort of contention. Without a fixed prompt though, it might be easier to start with those dot points and pick which ones we want to write out and string together. Let’s pick two—connections to mother tongue fading over time (Strine similarity 1) and digging roots into Australia over time (The Clan similarity 1). A contention covering these points might look like:
While second generation migrants may struggle with loss of culture, they also constitute a unique and significant part of the diaspora.
An example
Many migrants lose connections to their heritage over time, and these connections are often in the form of language. Particularly for Asian migrants, there is not as strong a need to preserve their mother tongue in the English-speaking Australia, and as such their knowledge of those languages can be easily lost. Ivy Tseng, for instance, recalls how she was never able to “grasp the significance” of learning Chinese as a child, and eventually she and her sisters would prioritise “study” and other academic pursuits over learning Chinese. Because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language. These compromises can come from other factors as well, particularly the group dynamics of being in white-dominated Australia. Bullying is a frequent culprit, and Badami for example is indeed peer-pressured into resenting—and ultimately anglicising—his name, “Sunil? Like banana peel?” More generally speaking, a sense of shame for one’s difference is a common part of the migrant experience—Law experiences it as well at theme parks, where he and his siblings attempt to “set [them]selves apart” from the faux-pas of their parents. Not always an intentional goal, but a general willingness to compromise connections to heritage underscores many Asian Australian migrant stories, particularly of second-generation migrants.
However, the extent to which migrants feel socially integrated in society shifts generationally and over time as well. Second generation migrants are thus unique in that they have the closest connection to their heritage while also initiating this process of integration. Law and his siblings exemplify this, with their “Australian accents” and “proper grammar and syntax.” While some loss of their native Cantonese takes place, they are also the first in their family to sound Australian, one step closer to being Australian. They constitute part of the distinct, third culture of “ABC”—Australian-born Chinese—to which Chau alludes in his poem, ‘The Firstborn’. Distinct from first-generation migrants, ABCs are a product of diaspora and spend their formative years immersed in the Australian way of life. Chau’s poem goes on to highlight how sizeable this demographic now is—“the sea is awash with the unfathomable Chinese sons.” Thus, we can see how ABCs, or second generation Asian migrants, represent a unique and significant social group exemplified by great compromise, but also great change.
Why is this useful?/How can I apply this?
I like this exercise because it gets you thinking creatively about the key implications of the stories. Within a section or theme, you want to identify similarities in how both stories contribute to our understanding of that theme. You also want to identify differences to explore how stories can be unique and nuanced, which will provide your essay with more depth when you ultimately need it. Then, putting it all together helps you synthesise new connections between themes.
For an analytical study of this text, you’d flesh out those ideas until they become paragraphs, introducing relevant evidence and mixing it up with explanatory sentences as you go. Explanatory sentences keep you analysing rather than story-telling, and they usually don’t have any quotes—an example from above might be “because tertiary study and education as an institution generally carry a lot of weight in migrant cultures, there is often a compromise made at the expense of heritage and language.”
For a creative study, you’d take away those ideas and look at how else you might explore them in other stories. Feel free to challenge yourself for this; I remember falling back on more personal writing when studying this creatively, but don’t neglect other genres or forms! If second generation migrants are in fact more on their way to belonging, write a speculative story about how an apocalypse tests those connections to white Australians. I dunno, but don’t be afraid to really push the boundaries here and test the implications you draw from the stories.
Give it a go
Try it for some of these:
UnAustralian? (Loewald & Law) and Leaving Home (Diana Nguyen & Paul Nguyen)
Battlers (Dac & Law/Huynh) and Mates (Phommavanh & Ahmed)
The Folks (Lazaroo & Tran) and Homecoming (Beeby & Larkin)
Growing Up Asian in Australia Essay Prompt Breakdown
Video Transcription
The essay topic we’ll be looking at today is short and sweet;
To belong is to sacrifice. Discuss.
The key terms are evidently “to belong” and “to sacrifice”, so these are the words and definitions that we’ll have to interrogate.
Belonging is a feeling of being accepted by someone or being a member of something, so we’d have to ask who is doing the accepting, and what are the writers seeking to be members of. On the other hand, sacrifice is loss, it’s giving something up—it’s implied that seeking belonging means you may have to navigate compromises to what you have, how you live, or maybe, who you are. Have a think about what sacrifices are made by whom, and why.
With that in mind, let’s brainstorm a contention. We usually want to avoid going fully agree or fully disagree to create a bit more ‘grit’ for the essay—and in this case, the prompt is pretty deterministic or absolute; it’s saying that belonging is all about sacrifice.
I’d probably argue that belonging is sometimes about sacrifice, and for migrant children they often give up some of their culture or heritage for Western lifestyle or values. That being said, belonging in these cases is probably more about synthesis than sacrifice—it’s about being able to negotiate and bring heritage into increasingly Australian ways of life.
The brainstorming section of writing a killer essay is where my THINK and EXECUTE strategy comes in. If you haven’t heard of it before, essentially, it’s a method of essay writing that emphasises the importance of really thinking about all aspects of a prompt and exploring all the different avenues you can go down. To be able to EXECUTE a well-reasoned, coherent and articulate essay that contains enough nitty-gritty analysis, you have to do enough THINKing to get some meat on the essay’s skeleton, so to speak. To learn more, check out my top selling eBook, How To Write A Killer Text Response.
In paragraphs, we could start by looking at some of the sacrifices people make in order to belong. The poem, ’Be Good, Little Migrants’ has a more of a cynical take on this, suggesting that migrant groups are expected to sacrifice economic mobility and even personal dignity in order to gain favour with locals: “give us your faithful service”, “display your gratitude but don’t be heard, don’t be seen.”
Economic sacrifices are seen across many stories, from the working class “decent enough income” in ‘Family Life’ to the failing business in ‘ABC Supermarket’. Other forms of sacrifice might be less material—for example Benjamin Law’s sacrifice of his Mariah Carey cassettes in an attempt to fit in at school from the story ‘Towards Manhood’. This example is interesting because it isn’t a cultural sacrifice, but a gendered one—it’s a good reminder that identity is always multi-layered.
For migrant children though, the sacrifices usually revolve around their race and culture. Diana Nguyen for example notes language as a key sacrifice: she quits Vietnamese school because she didn’t feel like she belonged with the grade ones in her class, and her ultimate “lack of interest in learning [Vietnamese] created a lasting barrier” between her mother and her. In Sunil Badami’s story, ‘Sticks and Stones and Such-Like’, the sacrifice is his name, as he Anglicises it to Neil. When his mother finds out, “she spat my unreal new name out like something bitter and stringy, too difficult to swallow.” The common denominator here is that Asians growing up in Australia often have to navigate sacrificing some of their heritage in order to belong in western society.
However, the challenges faced by the Asian diaspora growing up abroad are more complex and more nuanced than just sacrifice. More often than not, they’re required to synthesise a ‘third culture’ identity that balances their heritage with western values and lifestyles.
Diana Nguyen goes on to discuss her career trajectory in becoming a “working actor” in Melbourne’s entertainment industry, carving out a path for herself in spite of her parents’ disapproval, and going on to represent a new generation of Asian Australians in the media. The story ‘Wei-Lei and Me’ also points to this shifting demographic in Australia, as Gouvernel and her best friend stave off a racist primary school bully only to see their home change for the better as they grew up, with new restaurants from their home cuisines opening up. At the same time, they “had become what [they] thought [they] could never be: Australian,” describing a way of life in Canberra that is unmistakably Australian.
So, belonging isn’t necessarily all about sacrifice—it doesn’t mean you can’t pursue your passions or become ‘Australian’. Sure, sometimes sacrifice is necessary, but ‘third culture kids’ synthesise conflicting identities in order to belong.
Having arrived at the contention, let’s just have another think about the takeaway message - being able to bring other themes into an essay topic that only really raises one theme. To answer this topic fully, a good essay wouldn’t just discuss belonging and sacrifice, but it would also bring in discussion about family, friends, careers and cultures, just to name a few. Hopefully this is something you can translate into your own future work!
Conclusion
Growing Up Asian In Australia is an anthology with a lot to unpack, but there are plenty of unique stories with plenty of interesting links to be made. However you’re learning this text, being able to draw conclusions from stories and extrapolate them into your writing is a really important skill.
As you go, ask yourself about the implications: ‘so what?’ and ‘why?’. These sorts of questions will help you get richer insights and write about the anthology in a more interesting way.
Much Ado About Nothing 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.
Summary
Much Ado About Nothing is one of Shakespeare’s classic comedies, and is in fact the most performed of his plays – even more than Hamlet or Romeo and Juliet. While it was also popular in Shakespeare’s time, its themes are still very contemporary. Much Ado About Nothing is a story of mixed-up love, lies and deceit, themes that are still prevalent in current hit movies like To All the Boys I’ve Loved Before, or 10 Things I Hate About You. The banter between Beatrice and Benedick is amusing and ridiculous, and the ensuing drama between Hero and Claudio is probably not far off the modern drama in the relationships of your friends.
Much Ado About Nothing explores themes of love, the ways that we can be opposed to love and relationships, the position of women and necessity of marriage, and the ways we can deceive each other and ourselves. If you’ve ever felt attracted to someone who really pushed your buttons, felt a spark with someone the first time you saw them, experienced your friends’ relationship drama, said you’d never have a relationship because study is too important, or even maybe tried to play matchmaker for two people, this play is for you! Love is a beautiful and yet frustratingly unavoidable part of life, and Shakespeare shows us the many ways in which people can react to this and manipulate this for their own desires. This play uses comedy to reassure us that mistakes and misunderstandings in love are an innate part of humanity, as we struggle to communicate how we feel towards another person. Further, it is a play about how we stage these relationships to one another and questions whether true love needs an audience at all. As you’ll see, it’s very much a play about appearance and reality, and deception and truth – these are the kinds of questions that humanity will always face when dealing with love.
Themes / Motifs
Marriage and its effects on Freedom
Marriage acts as the primary source of the drama that unfolds in the play, and the main factor that drives its romantic plot forward. Much Ado About Nothing explores the paramount importance the Elizabethan society placed upon the notion of marriage, and the threat this often placed upon the free will of many individuals. This is primarily perceivable in the characters of Benedick, who compares the married man to a tame and lifeless animal, and Beatrice, who disparages the idea of saccharin romance and thus ‘mocks all her wooers out of suit’.
Chastity and Family Honour
Much Ado About Nothing also examines the social concept that a woman should act gracefully and stay ‘chaste' until marriage in order to bring honour to her family. Claudio’s public rejection and public humiliation of Hero during their wedding ceremony acts as the climax of the plot and a direct representation of the societal values in the Elizabethan era. Shakespeare assumes an arguably feminist stance in his implied denouncement of this despotic treatment of women, who were expected to lose all social standing if they happened to lose their virginity before marriage. The extent of this cruelty is emphasised by the harsh, obliterative words of Leonato, as in his belief that Hero is unchaste, he proclaims his own daughter as ‘stained’ and ‘fallen into a pit of ink’, having brought dishonour upon his entire family.
Deception
Much of the play’s plot is driven by both accidental and deliberate deception, of which almost every character is a victim. False language in Much Ado About Nothing is so prevalent that it obliterates the truth and forms an alternate kind of society, in which characters assume the very roles chosen for them by the lies spread about them by others. For example, the rumours that Benedick and Beatrice are in love lead to their marriage, and Hero is treated as a whore by her own father due to Claudio’s denunciation of her as ‘every man’s Hero’. Despite this, Shakespeare examines both the positive and detrimental effects of such deceit; just as the duping of Claudio and Don Pedro culminates in Hero’s social demise, her faked death also allows her to reconcile with Claudio and attain her public redemption.
Perception and Reality
The defining characteristic of Much Ado About Nothing is that nothing of material actually happens in the plot, other than marriage. There are no real fights, deaths, trials, illnesses or sexual encounters - the only perceivable change in the play is the perception of various events and characters, such as whether Hero is a virgin, or whether Claudio and Benedick will fight - hence its name, ‘Much Ado About Nothing’.
Symbols
Eyes
Used to represent the idea of perception in the play, eyes are often utilised by Shakespeare when characters’ perceptions are distorted by the deceptive actions of others. Much like Claudio’s rhetorical question, ‘Are our eyes our own?’, the play questions the extent to which others affect an individual’s way of thought.
Beards
Beards act as a complex emblem of masculinity in Much Ado About Nothing. Benedick’s autonomous bachelorhood is symbolised by his full, rugged beard, whereas Claudio’s clean, shaven face is a token of his ‘softness’ and emotional vulnerability. In tandem with this, Beatrice’s aversion to beards represents her scorn for men in general. It is important to note that the action of shaving one’s beard is a symbol that accompanies the act of getting married - Benedick’s first action as a married man is to shave his beard, and by doing such, allowing himself to be as vulnerable with Beatrice as ‘Lord Lack-beard’ Claudio is with Hero.
The Savage Bull
Don Pedro’s taunting of Benedick that “In time the savage bull doth bear the yoke,” symbolises the act of a free-willed man succumbing to the attractive comfort of marriage. The notion that marriage can be a kind of prison to men is repeatedly alluded to in the play through the symbol of the ‘savage bull’; just as the bull is tamed by humans’ training, the free bachelor is tamed by responsibility when he is married. However, the image of marriage shifts in the play along with a transformed imagery of the bull, as Claudio assures Benedick that his horns will be ‘tipped with gold’ and love through his marriage. This suggests that while it may seem like an intimidating and suffocating prospect, marriage can also provide infinite warmth and comfort to those who embrace it.
Character Analysis
Beatrice
Niece of Leonato and cousin of Hero.
Although kind to her loved ones and described as ‘pleasant-spirited’, she is extremely witty and cynical, particularly towards Benedick, whom she once loved but now engages in constant bickering with.
Shakespeare’s symbol of early feminism, as she is a character of justice and female autonomy, vowing at the beginning of the play that she will never marry a man in order to keep her freedom.
Benedick
A lord, recently returned from fighting in the wars.
Just like Beatrice, he also vows that he will never marry and stay a liberal bachelor.
Although he often retorts Beatrice’s snide remarks and sarcastic wit with insulting retort, his observant friends perceive an underlying affection for her beneath his facade of apathy.
The main character through which Shakespeare explores the theme of deception and performance; as a natural entertainer, it is difficult for the audience to comprehend whether he is merely pretending to be in love with Beatrice, or genuinely in love with her.
Hero
The beautiful, gentle and graceful daughter of Leonato.
The quintessential and ideal woman of the Elizabethan era, as she is obedient to her father and cherished for her perceived pureness and chastity.
Claudio
A young, handsome and widely appraised soldier who has attained great public acclaim through his noble fighting under Don Pedro’s command.
Falls in love with Hero immediately upon his return to Messina.
Although depicted as the ideal male Elizabethan hero, his suspicious and doubtful nature results in his downfall, as he is quick to fall for deliberate lies and wicked rumours, even about those closest to him.
Don Pedro
Sometimes referred to as ‘the Prince’, Don Pedro is an established nobleman from Aragon and longtime friend of Leonato.
A character with two faces; although socially adept and courteous in his public actions, he is, like Claudio, quick to fall for rumours and takes hasty revenge on those who fail his expectations. Through this characteristic of Don Pedro, Shakespeare condemns the hypocrisy of societal expectations, presenting the idea that propriety can often cover devious intent.
Don John
Also referred to as ‘the Bastard’, Don John is the illegitimate brother of Don Pedro.
Perpetually melancholy and dispirited due to his social standing as an outcast, he devises a treacherous plan to ruin the happy courtship between Hero and Claudio.
Despite Shakespeare’s depiction of Don John as the villain of the play, many of his characteristics suggest rather that he is merely an individual driven to commit evil deeds due to his inherent inferiority to his brother, and constant rejection by a prejudiced society.
Quote analysis
“He that hath a beard is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me; and he that is less than a man, I am not for him.”
This quote by Beatrice represents her aversion to the idea of marriage and her belief that no man will ever be able to satisfy her.
As it was widely believed that the beard of a man symbolised his manliness and maturity, this conundrum suggests that Beatrice believes that no man, whether a man without a beard or a boy with one, will be able to win her love or admiration.
“The savage bull may, but if ever the sensible Benedick bear it, pluck off the bull’s horns and set them in my forehead, and let me be vilely painted, and in such great letters as they write ‘Here is good horse to hire’ let them signify under my sign ‘Here you may see Benedick, the married man.”
This quote is Benedick’s mocking, sarcastic reply to Don Pedro’s adage about how all men, even the wildest of them, eventually settle down to become married.
The ‘sensible Benedick’ here refers to a Benedick who is too clever and pragmatic to yield to the fleeting attractions of true love, as he knows that he will be disappointed by it soon enough. His imaginative scene of himself with ‘bull’s horns’ on his head symbolise the Renaissance belief that cuckolds, or men whose wives committed adultery, grew horns on their heads due to their futility. Thus, Benedick here is implying that part of his disinclination towards marriage stems from his fear that his wife will be unfaithful to him.
“But now I am returned and that war thoughts have left their places vacant, in their rooms come thronging soft and delicate desires, all prompting me how fair young Hero is, saying I liked her ere I went to wars.”
Claudio here describes his swift transformation from a war hero to a passionate lover of Hero. The change that occurred in Claudio is so rapid that it is more of a passive event that occurred to him, rather than something that he chose of his own volition.
As such, Shakespeare uses this quote to emphasise his volatile character and foreshadow the swiftness with which Claudio later disowns his feelings for Hero and humiliates her.
Sample Essay Topics
Quote-Based Essay Prompt
1. "I am a plain dealing villain." Don John is the only honest character. Discuss
How-Based Essay Prompt
2. How does Shakespeare use music and poetry to convey love and the intricacies of communication?
Metalanguage-Based Essay Prompt
3. Discuss Shakespeare's use of symbols throughout the play and how they relate to the concepts of appearance and reality.
Note: You’ll notice that each essay (or prompt, as we like to use interchangeably), has been labelled a particular type of prompt (theme-based, character-based, etc.). While we won’t go into detail with the types of prompts in this blog, in LSG’s How To Write A Killer Text Response, we explore the five different types of essay prompts. By identifying the type of essay prompt, you’ll immediately understand how you should answer the essay prompt so that you satisfy the VCAA criteria for your SACs and exams. This approach to essays is incredibly valuable as it saves you precious time during assessments, while ensuring you don’t go off topic.
Essay Topic Breakdowns
Character-based essay prompt
Much Ado About Nothing is primarily Shakespeare’s strong argument for feminism and female autonomy.
Plan:
1. Shakespeare in Much Ado About Nothing utilises the character of Beatrice as the quintessential strong female hero, and thus encourages female autonomy.
Beatrice’ strong, independent spirit and fierce wit defines her as the most powerful female character in the play. Her desire to remain a ‘maid’, uncommon in the times as every woman was expected to aspire to marriage, is a striking emblem of feminism, as her self-governance and liberated spirit is depicted.
Beatrice is also perceivably masculine - she even expresses her desire to have been born a man in her patriarchal society, stating, ’I cannot be a man with wishing, therefore I will die a woman with grieving.’ As such, Shakespeare advocates that society should accept a more diverse range of women, including those with more masculine characteristics.
2. In tandem with this, the character of Hero is employed as an instrument through which Shakespeare condemns the harsh societal expectations of women.
The public humiliation of Hero as ‘unchaste’, or sexually loose, results in her rejection both from society and her own family, including her previously doting father, Leonato.
As such, Hero’s devastating plight reminds the audience that being a woman in the Renaissance meant that one was constantly vulnerable to inferior treatment compared to men, and their harsh judgments - even from male relatives or close ones.
3. Ultimately, the repeatedly negative connotations of marriage expressed by female characters highlights the lack of autonomy women possessed in the Shakespearean era.
Beatrice’s extreme aversion to marriage, as she ‘cannot endure to hear tell of a husband’, suggests that it was not all women’s choice to marry but rather a heavy societal burden placed over their heads.
Hero is perceived to have almost no agency or self-determination when choosing a life partner, perceivable by Leonato’s reminder to her, 'Daughter, remember what I told you. If the Prince do solicit you in that kind, you know your answer.’ As Hero expresses that her heart is ‘exceedingly heavy’ on her wedding day, the audience is positioned to question the extent of power that fathers held over their daughter’s fates in the Elizabethan era.
Theme-based essay prompt
In Much Ado About Nothing, Shakespeare argues that deception always results in negative consequences.
Plan:
1. Deception is portrayed as a negative tool in Much Ado About Nothing, as trickery leads to tragic events, as Don John’s lies directly results in Hero’s social demise and the destruction of her relationship with Claudio.
Don John’s deceitful words to Claudio before their wedding, “I came hither to tell you, and, circumstances shortened—for[Hero] has been too long a-talking of—the lady is disloyal,” lead to Claudio’s public humiliation of Hero as every man’s Hero’ - an unfaithful woman.
The catastrophic outcome of this highlights the negative power of deception and the danger of being swayed by mere hearsay, as Hero is not only scorned by all of society, but also disowned by her own father, who wishes death upon himself and his ‘stained’ daughter.
2. Despite this, deception is not always detrimental in Much Ado About Nothing, in which deliberate trickery leads to the resolution of the main romantic conflict between Beatrice and Benedick.
The act of deceiving Benedick and Beatrice that the other is in love with them eventually leads to their marriage - the resolution of the main conflict of the play.
Although Benedick is firmly against the idea of being contained by marriage in the beginning of the play, he becomes a passionate lover as soon as he hears the false words, “Did you know Beatrice is madly in love with Benedick?”, declaring that he ‘will be horribly in love with her’ thenceforth.
Similarly, Beatrice is also positively influenced by deceptive words, as the audience can discern her transformation from a ‘flighty maid’ to a woman full of genuine affection of Benedick - perceivable by the end of the play, in which she delivers the lines, ‘Benedick, love on, I will requite thee, taming my wild heart to thy loving hand,’ as if releasing the very last fragment of her stubborn heart to him.
3. In a similar vein, Hero’s staged and thus deceptive death results in her social and familial redemption, as well as the saving of her marriage with Claudio.
In order to punish Claudio for his mistakes, Leonato’s household publicly ‘publishes’ that Hero has died.
The idea of Hero’s death brings so much guilt to Claudio that he begins to remember all of her benevolent qualities in a fit of misery, delivering the lines, ‘Sweet Hero, now thy image doth appear / In the rare semblance that I loved it first.’
Leonato asks Claudio to marry his niece (Hero in disguise) instead of the ‘dead’ Hero, and as Claudio tearfully agrees, the redemptive masquerade through which Hero and Claudio reconcile symbolises the positive factors of deception.
Now it's your turn! Give these essay topics a go. If you're you’d like to read completed A+ essays based off the two essay topics above, as well as the ones listed below, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then I would highly recommend checking out LSG's Killer Text Guide: Much Ado About Nothing. In it, we also cover themes, characters, views and values, metalanguage and have 4 other sample A+ essays completely annotated so you can smash your next SAC or exam! Check it out here.
Most assessments require you to write essays using formal language. In English writing, there are two main styles of writing – formal and informal. The primary purpose of formal language is to achieve sophistication and clarity. Although the difference between the two styles is relatively straightforward, we’ll point out some common examples to just to make sure that you don’t slip and make an unnecessary mistake. Consider these two examples:
Example 1 : We cordially invite you to the Year 12 formal.
Example 2 : Hey buddy! Wanna go to the dance?
It is clear that example 1 is formal while example 2 is informal. The vocabulary, tone, and syntax are all things that change depending on the style you wish to adopt. Informal language isn’t always a ‘taboo’ though. Creative pieces and persuasive pieces can be written informally, for example, if it is a personal diary or an advertisement respectively. If you’re unsure, the easiest way to separate the two is to question whether or not you would say the phrase in real-life conversations. If it’s a yes, then it’s most likely informal language. Below are some more specific examples of the differences between formal and informal writing:
Formal: Avoids using colloquial words/phrases
Informal: May use colloquial words/phrases
Formal: Avoids contractions (write out full words – was not, did not, had not etc.)
Informal: May use contractions (wasn’t, didn’t, hadn’t etc.)
Formal: Usually written in third person (Sharon, Ben, they, them etc.)
Informal: May use first (I, me etc.), second (he, she etc.) or third person (as above).
Formal: Specific words (such as, large, items, etc.)
Informal: Imprecise words (like, big, things, etc.)
Formal: Avoids cliches (many, etc.)
Informal: May use cliches (loads of, etc.)
Formal: Avoids addressing readers using second person pronouns (the readers, an individual, one’s etc.)
Informal: May address readers using second person pronouns (you, your, etc.)
Formal: Avoids using abbreviated words (write in full – photograph, television, etc.)
Informal: May use abbreviated words (photo, TV, etc.)
Informal: May use imperative voice (remember to…etc.)
Formal: May use passive voice (it has been noted that…etc.)
Informal: May use active voice (we note that…etc.)
Formal: May use longer and more complex sentences.
Informal: May use short and simple sentences.
When writing essays ensure that you stick to one or the other. Mixing the two ways of writing will negatively impact the readability of your essay, and also the assessor’s reflection of the writer.
1. What Is Text Response? 2. What Are You Expected To Cover? (Text Response Criteria) 3. School Assessed Coursework (SAC), Exams and Allocated Marks 4. How To Prepare for Your Text Response SAC and Exam 5. How To Write a Text Response
1. What Is Text Response?
Like its name, Text Response is when you respond to a text. The most popular texts are novels and films; however, plays, poetry and short stories are also common. Your response will be in the form of an essay, in which you discuss themes, ideas and characters. Recall all the novels and films you've studied since Year 7 (there'll be quite a few!). You should be very familiar with the process of watching a film or reading a novel, participating in class discussions about themes and characters, and finally, submitting an essay based on the text.
As you graduate into higher year levels, you spend each year revising and improving on TEEL, learning to better incorporate quotes and formulating even longer essays than the year before (remember when you thought you couldn't possibly write an essay more than 500 words?).
The good news is, all of that learning is now funnelled into VCE’s Text Response, one of the three parts of the VCE English study design. Text Response, officially known as ‘Reading and Responding’ in the study design, is the first Area of study (AoS 1) - meaning that the majority of students will tackle the Text Response SAC in Term 1. Let's get into it!
2. What Are You Expected To Cover? (Text Response Criteria)
What are teachers and examiners expecting to see in your essays? Below are the VCE criteria for Text Response essays.
Note: Some schools may express the following points differently, however, they should all boil down to the same points - what is necessary in a Text Response essay.
a) Critically analyse texts and the ways in which authors construct meaning;
Much of the ‘meaning’ in a novel/film comes instinctively to readers. Why is it that we can automatically distinguish between a protagonist from an antagonist? Why is it that we know whether or not the author supports or denounces an idea?
Here you need to start looking at how the author constructs their texts and why they have made that choice. For example, the author describes a protagonist using words with positive connotations (kind, brave, charming), whereas the antagonist is described with words using negative connotations (vain, egocentric, selfish).
For example, 'in Harry Potter, by describing the protagonist Harry as "brave", the author JK Rowling exhibits the idea of how possessing bravery when making tough choices or facing challenges is a strong and positive trait.'
b) Analyse the social, historical and/or cultural values embodied in texts;
Society, history and culture all shape and influence us in our beliefs and opinions. Authors use much of what they’ve obtained from the world around them and employ this knowledge to their writing. Understanding their values embodied in texts can help us as readers, identity and appreciate theme and character representations.
For example, 'through the guilty verdict of Tom Robinson in To Kill A Mockingbird, Harper Lee expresses the belief that the American legal system in the 1930s was not always fair or just.'
c) Discuss and compare possible interpretations of texts using evidence from the text;
Be open to the idea that many texts can be interpreted in many ways. Texts are rarely concrete and simple. Take The Bible, a book that is one of the most popular and famous books in history but is interpreted differently by every person. Acknowledging more than one perspective on a certain aspect of the text, or acknowledging that perhaps the writer is intentionally ambiguous, is a valuable skill that demonstrates you have developed a powerful insight into your text.
For example, 'in The Thing Around Your Neck, feminist readers condone Adichie's stories which all revolve around women either as protagonist or as narrators, giving voice to the disempowered gender in Nigerian society.'
d) Use appropriate metalanguage to construct a supported analysis of a text;
While you should absolutely know how to embed quotes in your essay like a boss, you want to have other types of evidence in your Text Response essay. You must discuss how the author uses the form that he/she is writing in to develop their discussion. This encompasses a huge breadth of things from metaphors to structure to language.
For example, 'The personification of Achilles as "wolf, a violator of every law of men and gods", illustrates his descent from human to animal….' or 'Malouf’s constant use of the present voice and the chapter divisions allow the metaphor of time to demonstrate the futility and omnipresence of war…'.
e) Control and effectiveness of language use, as appropriate to the task
When examiners read essays, they are expected to get through about 12-15 essays in an hour! This results in approximately 5 minutes to read, get their head around, and grade your essay - not much time at all! It is so vital that you don’t give the examiner an opportunity to take away marks because they have to reread certain parts of your essay due to poor expression and grammar.
3. School Assessed Coursework (SAC), Exams and Allocated Marks
Reading and Creating is assessed in Unit 1 (Year 11) and Unit 3 (Year 12). The number of allocated marks are:
Unit 1 - dependant on school
Unit 3 English – 30 marks
Unit 3 EAL – 40 marks
Exactly when Text Response is assessed within each unit is dependent on each school; some schools at the start of the Unit, others at the end. The time allocated to your SAC is also school-based. Often, schools use one or more periods combined, depending on how long each of your periods last. Teachers can ask you to write anywhere from 800 to 1000 words for your essay (keep in mind that it’s about quality, not quantity!)
In your exam, you get a whopping total of 3 hours to write 3 essays (Text Response, Comparative and Language Analysis). The general guide is 60 minutes on Text Response, however, it is up to you exactly how much time you decide to dedicate to this section of the exam. Your Text Response essay will be graded out of 10 by two different examiners. Your two unique marks from these examiners will be combined, with 20 as the highest possible mark.
4. How To Prepare for Your Text Response SAC and Exam
Preparation is a vital component in how you perform in your SACs and exam so it’s always a good idea to find out what is your best way to approach assessments. This is just to get you thinking on the different study methods you can try before a SAC. Here are my top strategies (ones I actually used in VCE) for Text Response preparation that can be done any time of year (including holidays - see How To Recharge Your Motivation Over the School Holidays for more tips):
a) Reread your book (or rewatch the film)
After all the learning and discussion you’ve had with your teacher and peers, you should have now developed a solid foundation of knowledge. Rereading a book enables you to refresh your memory on subplots, popular passages and most importantly, helps you fill in any missing gaps in knowledge. Take this as an opportunity to get familiar with the parts of the texts you're less confident with, or to examine a particular theme that you know you're weaker in (HINT: A good place to start is to make sure you know the difference between themes, motifs and symbols!)
b) Do a close analysis
This is like an advanced version of rereading a book. A 'close analysis' - a term stolen from VCE Literature (thanks Lit!) - is basically where you select a passage (a short chapter or a few pages), and analyse it in detail.
As you move through the passage, you can pick out interesting word choices made by the author and try to interpret why they have made this choice. Doing a close analysis will immensely strengthen your metalanguage analysis skills, and also give you the opportunity to stand out from other students because you can offer unique and original analysis and evidence in your essay. I know this can be a bit confusing, so this video below shows a full close analysis of a Macbeth passage in action:
c) Read and watch Lisa's Study Guides' resources
Doing this study all by yourself can be rather daunting, so we've got your back. We specialise in supporting VCE English by creating helpful videos, study guides and ebooks. Here are some just to get your started:
YouTubeVideos
We create general Text Response advice videos like this:
We also create text-specific videos:
And if you just need general study advice, we've got you covered too:
Check out our entire YouTube channel (and don't forget to subscribe for regular new videos!).
Study Guides
Our awesome team of English high-achievers have written up study guides based on popular VCE texts. Here's a compilation of all the ones we've covered so far:
Most people seem to the think the most difficult part of Text Response is the writing component - and they're not completely wrong. However, what I've found is that not even students place emphasis on the brainstorming, preparation and planning of Text Response.
Think about it - if you don't come to the table with the best ideas, then how can you expect your essay to achieve A+? Even if you write an exceptional essay, if it doesn't answer the prompt, your teacher won't be sticking a smiley face on your work. We need to avoid these common teacher criticisms, and I have no doubt you've experienced at least once the dreaded, 'you're not answering the prompt', 'you could've used a better example' or 'more in-depth analysis needed'.
Enter my golden strategy - the THINK and EXECUTE strategy. This is a strategy I developed over the past 10 years of tutoring, and I've seen my students improve their marks every time. The THINK and EXECUTE strategy breaks up your Text Response into two parts - first the THINK, then the EXECUTE. Only with the unique THINK approach, will you then be able to EXECUTE your essay to its optimum potential, leading yourself to achieve those higher marks.
To learn more about the THINK and EXECUTE strategy, download my ebook sample on the shop page or at the bottom of this blog, or check out the video below:
d) Get your hands on essay topics
Often, teachers will provide you with a list of prompts to practice before your SAC. Some teachers can be kind enough to hint you in the direction of a particular prompt that may be on the SAC. If your teacher hasn’t distributed any, don’t be afraid to ask.
We have a number of free essay topics curated by our team at LSG, check some of them out. Also go scroll back up to our list of study guides above, as most of those also have essay prompts included:
Once you've done some preliminary revision, it's time to write plans! Plans will help ensure you stick to your essay topic and have a clear outline of what your essay will cover. This clarity is crucial to success in a Text Response essay.
Doing plans is also an extremely time-efficient way to approach SACs. Rather than slaving away hours upon hours over writing essays, writing plans can will save you the burnout and will get you feeling confident faster.
I've curated essay topic breakdown videos based on specific VCE texts. In these videos, I explore keywords, ideas and how I'd plan an essay with corresponding examples/evidence.
f) Write essays
Yes, sad, but it’s a fact. Writers only get better by actually writing. Even if you just tackle a couple of essays then at least you will have started to develop a thinking process that will help you to set out arguments logically, utilise important quotes and time yourself against the clock. It will help you write faster as well – something that is a major problem for many students. With that said, let's get into how to write a Text Response next.
Take a look at some of the essays our amazing LSG team have written:
If you need any more tips on how to learn your text in-depth, Susan's (English study score 50) Steps for Success in Text Study guide provides a clear pathway for how to approach your text and is a must read for VCE English students!
Before you start writing, make sure you're familiar with The Five Types of Text Response Prompts. Understanding the different types will help you move beyond a 'basic' one-size-fits-all structure.
Introduction
In an introduction, you're expected to have the following:
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.
Try to keep your introduction to the point. There's no need to prolong an introduction just to make a set number of sentences. It's always better to be concise and succinct, and then move into your main body paragraphs where the juicy contents of your essay resides.
Body Paragraph
Most of you will be familiar with TEEL. TEEL can stand for:
Topic sentence
Example
Evidence
Linking sentence
If your teacher or school teaches you something slightly different - that's okay too. At the end of the day the foundations are the same.
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.
Conclusion
Conclusions should be short and sweet.
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.
You’ll often find that study guides begin with a section on historical context. Even though it might be tempting to skip over this section, there’s a lot you can take away from understanding the period of time in which your texts are set in. I’ll show you how with examples for both Ransom and The Queen in this video.
Let’s start with a brief overview of why you need to know the historical context. Context, a topic explored in detail in our How To Write A Killer Text Response, plummets you back to the era of when your texts were set. You effectively ‘step into the shoes’ of the people living in that time, and in doing so, gain a better understanding of their views and values. People’s views and values are often shaped by important events of the time, social culture and norms, and everyday experiences. For example, think about your own context. You’re part of Generation Z, and one defining part of a Gen Z experience is growing up with technology from a young age. Social media is just normality, pretty much everyone has it, uses it as a source of online communication. So how does this shape your views and values? By having access to online information in this way, Gen Zers tend to be more passionate about social issues, because people of this age can leverage social media to voice their opinions or follow those who resonate with them. Only 20 years or so ago, we only had giant media that voiced their own opinions via newspapers or TV. You didn’t have such a wide array of voices from people of different races or experiences. Think about the recent death of George Floyd, and the incredible ripple effect his death had on the world and the power of social media in the Black Lives Matter movement.
So looking at The Queen and Ransom, we want to dive right into their respective eras and understand how people thought and felt during these time periods. This helps us better understand what the messages Frears and Malouf are trying to tell or teach us through their works, enabling you to write better essays. Let’s start with The Queen.
The Queen
The 1980s to 1990s was a time when the world was enamoured by the Princess of Wales (or Diana, as we’ll call her). Her shyness, broken family history, ongoing charitable efforts, and iconic fashion choices made her a royal favourite. She was dubbed the ‘People’s Princess’ not only because of her relatability but also because of her tenuous relationship with the royal family. She’d been wronged by the royal family; first by Prince Charles’ affair with Camilla, then with the lack of support from the Queen when she asked for marriage advice.
At the time, public opinion of the royal family was greatly influenced by tabloid papers - after all, there was no Instagram for the royals to tell their own story. After an estimated 750 million people tuned in to watch Diana’s wedding to Charles, paparazzi began documenting her every move. Princess Diana became the most photographed person in the world, with paparazzi offered up to £500,000 for even grainy pictures of her (that’s equivalent to $1.5 million AUD today!). In the competitive fight to snap the most profitable photos of Diana, the paparazzi invaded her most private moments, taking shots of her kissing Dodi Al Fayed while on holidays, and sunbathing topless at her hotel in Spain. Diana’s despair and requests to be left alone remained unanswered, so when the paparazzi chased her to her death in 1997, the public response was emphatic.
The public turned against Britain's press and photographers, and the overwhelming outpour of grief is a testament to the injustice the public felt on behalf of Diana. To add insult to injury, the monarchy’s initial reticent response was deemed inadequate, negatively shifting the public’s attitude or ‘mood’ - a term we often hear in the film - towards the royals. The monarchy needs to stay in the public’s favour, lest the end of the institution.
That’s why The Queenis a film about change on several fronts, the first dynamic response from the public, The Queen abandoning royal tradition and acquiescing to public demand, and how all this happens within months of Tony Blair’s new premiership.
With this, you can understand why change is one of the biggest themes discussed when comparing these two texts. Let’s look at Ransom.
Ransom
Moving back a further 3000 years earlier than The Queen, Ransom is a retelling the Trojan War, one of the most famous events in Greek mythology. To truly understand random, you must first familiarise yourself with Greek mythology, the Trojan War, and The Iliad. We’ll have a look at these three as if they’re matryoshka dolls (where dolls of decreasing size are place done inside another):
The biggest doll: Greek mythology
We’ll start with Greek mythology since it’s the umbrella knowledge you need to know before understanding the Trojan War and The Iliad. Essentially a collection of stories about gods, heroes and other creatures, Greek mythology was used by ancient Greeks to explain the existence of the world. Without the scientific developments we’ve discovered to date, ancient Greeks attempted to explain the creation of the earth, human behaviour, death and love through their mythical stories. Notice how the gods (Iris, Hermes) appear when Priam needs help and advice throughout Ransom.
The reason why Greek mythology is still prevalent in modern society is that the lessons taught in these stories are still applicable today as they depict universal truths about human qualities such as our strengths and flaws. Without you even realising it, our world today is filled with references to Greek mythology. Take, for example, Pandora, (the jewellery company that sells little charms you need to buy separately to make up a bracelet), whose namesake comes from the myth about Pandora’s box (basically, Pandora’s unchecked curiosity led her to open a forbidden box, releasing all illnesses and death into the world - side note, could we blame Pandora for COVID-19 then? Just kidding). Or take the first God of War game, which follows the story of Kratos whose ability to be a loving father is overpowered by his anger and desire for vengeance. Interestingly, the tale of Pandora’s box also is featured in this game.
Luckily for you though, you don’t have to be an expert in all Greek mythology, but you should probably have a good gist of the Trojan War.
The middle doll: The Trojan War
Now we narrow things down to one of the most legendary Greek myths - the Trojan War. This war might be familiar to you because it is the backdrop and context for Malouf’s Ransom.
The myth begins with Zeus, the father of all gods, and his brother Poseidon lusting after the goddess of water, Thetis. However, they are warned by Prometheus, an intelligent mortal - better known for being chained to a rock as a result of stealing Zeus’ fire - that Thetis would give birth to a son who would be mightier than his father. Alarmed at this possibility, the two gods arrange for Thetis to marry Peleus, a mortal. Since humans were believed to be inferior to gods, this ensured that Thetis’ child would be a mere mortal, rendering the prophecy redundant.
Any potential issues appeared resolved until the gods omitted Eris, the goddess of discord from Thetis and Peleus’ wedding invitation list. Furious at this insult, Eris arrives at the wedding with her own plans. She inscribes a golden apple with the words, ‘To The Fairest’ and throws it amongst the guests. Naturally, all goddesses want to claim the prize. Eventually, the choice is narrowed down to three of the most beautiful goddesses: Aphrodite, Athena and Hera. Unable to reach a decision, they turned to Zeus to judge who should win the title. However, Zeus refuses to do so and instead, elects a mortal with good judgment of beauty to make the choice. This mortal is Paris, Prince of Troy and whose birth produced a prophecy that he would one day bring misfortune to his people and town.
The three goddesses approach Paris with not only their beauty but also bribes. Hera offers him power and control over Europe and Asia, Athena promises that she will make him a great warrior while Aphrodite proposes to him the most beautiful woman on earth. Since Paris is more interested in women than power and war, he awards Aphrodite with the golden apple. With this exchange sealed, the beginning of Troy’s troubles begin as the most beautiful woman on earth, Helen is already married to Menelaus, king of Sparta.
After a diplomatic mission to Sparta, Paris elopes with Helen, who falls in love with Paris upon their first encounter (literature concerning this part of the story remains ambiguous). Upon discovering Paris’ betrayal, Menelaus calls on Helen’s many suitors to invade Troy and retrieve his wife. His brother, Agamemnon recruits and leads the Greek army into battle against the city of Troy, and thus begins the Trojan War.
And finally, the baby doll: The Iliad
Homer’s The Iliad is a poem that begins ten years into the Trojan War. By now, Thetis, the goddess who had married Peleus, has given birth to their mortal son Achilles, the mightiest of all Greeks, as predicted by the prophecy (Achilles should definitely be familiar to you because he’s the main character in Ransom!). Although he is a fighter for Agamemnon, their relationship is strained after Agamemnon demands that Achilles give up his beloved war prize, Briseis. Since Agamemnon desires Briseis for himself, this enrages Achilles to the point where he refuses to fight in the Trojan War. This leads to dire consequences for the Greeks as they lose many men in battle and are forced to retreat to their ships after the Trojans successfully turn the tide of the battle.
Concerned for his Myrmidons (a group of the strongest and skilled warriors who fight for Achilles) yet too proud to budge from his position, Achilles is persuaded to allow his close friend and comrade Patroclus, to wear Achilles’ renowned armour and lead his Myrmidons into battle (ah, we’re starting to see even stronger connections to Ransom now). This strategy is designed to rouse fear in the Trojans and cause them to temporarily retreat - enough time to allow the Greeks to rest and recover - as they’d see ‘Achilles’ back in battle.
Despite Patroclus’ skills as a soldier, Achilles insists that Patroclus only fight until the Greeks can successfully fend off the Trojans away from their ships. During the fight, however, Patroclus disobeys Achilles’ orders and continues to pursue the Trojans back to their gates. At this point, he encounters and is killed by Hector, the prince of Troy and leader of the Trojan army.
Fuelled with rage and grief over Patroclus’ death, Achilles agrees to fight once again for the Greek army, much to Agamemnon’s pleasure. In their next battle, Achilles kills many warriors and the Trojans are forced to retreat back to the safety of their walls. Hector, against the will of his family, faces Achilles alone outside the walls of his home, knowing that Achilles is on a path to avenge Patroclus’s death. In a fierce battle between the two greatest Trojan war warriors, Hector was killed. Achilles takes Hector’s body with him and dishonours it day after day by chaining it to a chariot and dragging it along the walls of Troy. Malouf begins the Ransom story here. The gods agree that this blasphemous behaviour cannot continue and send the god Hermes to guide king Priam, father of Hector to the Greek camp. Once in their camp, Priam falls to his knees and pleads Achilles for the body of his son. Touched by the king’s words, Achilles relents, allowing Priam to finally hold a proper burial for Hector.
Appreciating the differences between The Iliad and Ransom storyline will lead to a better understanding of the themes and symbols in Ransom.
One of the main differences between the two texts is their depiction of Priam’s journey to Achilles. In The Iliad, this journey is explored only momentarily and focuses more on the presence of Hermes. The inclusion of the new character Somax in Ransom also offers a new perspective on this old tale. While The Iliad only touches upon Achilles’ and Priam’s suffering, Malouf delves into the emotional journey that the characters undergo during the darkest episode in the Trojan War.
That’s why the themes of grief, loss and death should be quite prominent in your comparison between Ransom and The Queen along with the importance of stories and storytelling.
In my new study guide Ransom and The Queen, I show you how you can use your knowledge you’ve learned there to write A+ essays. Take a look at our study guide below!
How can we write about a film in a way that shows our knowledge of its complexity in the way it conveys ideas through visuals and sound?
While this blog post focuses on the construction of Invictus, the concepts around analysing film and writing about it apply to all other Year 11 and 12 multimodal texts. If you are studying Ransom with Invictus for the Comparative component of VCE English, you may also find out Ransom and Invictus study guide helpful.
What contrasts Invictus from Ransom, is, of course, that we can see Clint Eastwood’s depictions of post-Apartheid South Africa through his visualisations of, for instance, characters emotions and behaviours, by the formation of cinematic techniques. We can see the divided community in which the narrative is set; involving the rift between Afrikaners and black South Africans. The added challenge of writing about a multimodal text such as Invictus, is that its composition through these film techniques should be integrated as textual evidence in a cohesive and effective way.
Some key study design points:
“The features of written, spoken and multimodal texts used by authors to convey ideas, issues and themes.”
“The ways in which different texts provide different perspectives on ideas, issues and themes and how comparing them can offer an enriched understanding of the ideas, issues and themes.”
“Use textual evidence appropriately to support comparative analysis.”
A good way to approach analysis of textual evidence is through looking at quotes. However, to further show our understanding of the text is perhaps to discuss the context of these quotes; examining what the director is showing us along with this dialogue. What are the expressions portrayed by the characters? What does the framing reveal to us about the characters, symbols or the setting? What is Eastwood wanting us to understand about the narrative through the combination of these techniques? By asking these questions we can try to grasp what the intentions of the director are.
Some key film techniques to think about may be camera framings/angles, acting, lighting, editing, mise en scène, symbols, etc. (see terminology at the end of this blog).
Analysing a frame
A useful idea might be to go through the film multiple times, pause at certain moments and note what you can both see and hear. Turn on the subtitles to help decipher the dialogue – note these quotes down. It may also be worthwhile to read through the actual script to Invictus; from this we can learn of the intentions of Eastwood from a different perspective – in what he wanted to show his audience in each scene.
For example:
INT. SPRINGBOK DRESSING ROOM - DAY
The sound of cleats approaching on concrete. Exhausted
footsteps. The DRESSING ROOM ATTENDANT PUTS CASES OF BEER
(cans) on a side table, rips them open, backs away --
-- as the Springboks enter silently, faces miserable,
shoulders slumped. They've lost another game.
What is the setting? What can we see happening in this setting? Who is there? What are the behaviours and expressions of the characters? What does the type of camerawork tell us? What does the lighting and colour tell us? These might be some questions to consider.
MANDELA ENTERS LOFTUS VERSFELD STADIUM AS NEW PRESIDENT
In this scene, Eastwood utilises wide, high angle framing to represent the enormity of the stadium; filled with Afrikaners who, predominantly, detest the new President. Still, even as the framing is constantly filled with these Springboks sports fans, the director shows us the smiling, confident Mandela, who warmly waves to his new ‘partners in democracy’ without fear or distaste. We can see this as the camera draws in on Mandela’s facial expressions. Moreover, the courage of Mandela is exhibited as he exits the stadium and a sports fan hurls a drink at him. Even despite that he ‘sees everything’, Mandela continues to wave and smile at the crowd.
MANDELA ENTERS ELLIS PARK STADIUM FOR WORLD CUP FINAL
On the other hand, this scene, whilst it continues to demonstrate the steadfast, affable nature of Mandela, shows the unification of South Africa. Through Mandela’s support of the Springboks by wearing the green and gold, we can understand that the Springboks have subsided from once being a ‘prominent symbol of the apartheid era’. By contrast to his first appearance, Mandela is now upheld as a leader to all; there is no jeering or booing, but lively backing of both the Boks and The President. Mandela has fundamentally transformed the team who once brought ‘shame upon our nation’ into something to be proud of and excited for.
The camera pans around the stadium depicting cheering and applauding fans, who are even carrying the new South African flag. Even more interestingly, the black South Africans who widely scorned the Springboks, are now watching the rugby final in support of their team; their country.
JASON AND HIS TEAM MEET THE NEW BODYGUARDS
Eastwood utilises tight, close-up framing in this scene as to allude to the confrontation between black and white South Africans. By this, the director draws us in to the agitated, bemused expressions on Jason and Linga, who immediately clash with the new SAS bodyguards they must partner with. Jason stresses the personal bond between his team and the President – ‘[Madiba] that’s what we call him’. This immediately shows the distaste that the black South Africans have towards their ‘enemies’, the Afrikaners.
Madiba implores that ‘reconciliation starts here’ and ‘forgiveness starts here’; Mandela assembles this new team of bodyguards because they are his representatives and ambassadors. He wants the ‘rainbow nation’ to start here.
Writing an analysis
Once we understand what’s happening in some important scenes, we can think about how this understanding can be implemented into pieces of writing.
Consider the quotes: ‘Pienaar’s team’, ‘shame upon our nation’, ‘somebody gets the axe’ and ‘tails between their legs’. This is what TV host, Boland Botha, and the rugby president, say after the Boks perform poorly in their rugby match. Accompanying this scene are close-ups of Francois Pienaar, who is made to be the blame for the momentous loss.
We could approach an analysis of this by embedding quotes amongst a discussion of the cinematic techniques; explaining what we learn about the character of Pienaar through these. By including both quotes and some context in the cinematic construction, it displays a clear knowledge and understanding.
For instance, we could write:
“Eastwood demonstrates Pienaar as a prominent leader in the Springbok team. He is made out to be responsible for ‘[his] team’s’ dismal performance. Tight, close-up framing shows the audience a defeated Pienaar, a captain and leader who has brought ‘shame upon’ the South African nation, and as the rugby president suggests, deserves to ‘get the axe’. The harsh, low-key lighting of the frame draws in on the raked and bruised Pienaar, who is isolated as the key to the Boks having ‘their tails between their legs’ throughout the game.”
Have a go at analysing the film and finding a way to balance embedded quotes with examples of the director’s techniques.
All in all, while it is not crucial to talk about specific production techniques as such, it can help give you an edge in demonstrating that you know the ins and outs of the text. It helps show your comprehension of the context, themes and ideas presented, which is key to exemplifying a capacity to perceive authorial intent.
Some useful terminology
Camera shots/techniques:
Shots: extreme long shot/long shot, medium shot, close-up shot/extreme close-up
Establishing shots: first shot of a new scene, shows the audience where the scene is taking place.
Depth of field: distance between closest and furthest objects giving a focused image.
Camera angles:
Bird’s-eye view, low angle, eye-level, high angle
Skewed angle: camera set on an angle (horizon line is not parallel with the bottom of the frame)
Camera movements:
Zooming, panning/tilting, tracking, hand-held
Mise en Scene: the arrangement of a frame; the artistic look of a shot in its elements of lighting, colour, camera techniques, sets, costumes, etc.
Lighting: high-key (bright, low shadow and contrast) or low-key (underlit, strong contrast between light and dark)
Point-of-view: the perspective from which the text is portrayed; the audience are driven to identify with characters portrayed.
Opening/resolution: how a narrative is introduced in setting up characters, settings, etc., how these develop and resolve at the end of a text.
Motif: a distinguishable feature which portrays a theme and idea about a character, setting, etc.
For more information on film techniques, watch this video:
For a detailed list of film techniques, learn morehere.
'Without mortality and fallibility, humility cannot exist.' Compare how the two texts explore the importance of humility.
Compare the ways the two texts explore the efficacy of different leadership types.
"In a world that is also subject to chance." (Ransom) "Under the bludgeonings of chance; My head is bloody, but unbow'd." (Invictus). Compare how chance influences lives and societies in these texts.
Compare how these texts examine the societal consequences of conformation and rebellion.
Compare how Invictus and Ransom explore resistance to change.
'Forgiveness can correct any miscarriage of justice committed.' Compare how this idea is demonstrated in these texts.
'Leadership and sacrifice are never mutually exclusive.' Compare the connections between leadership and sacrifice in Invictus and Ransom.
Compare the ways the two texts explore the power of shared experiences.
'...let his name, from now on, be Priam, the price paid" (Ransom) Compare how Invictus and Ransom show the roles of the past in determining one's future.
"But the women's presence is stronger than [Achilles']. This is their world." (Ransom) Compare what these texts say about the power of women in societies focused on masculinity and male experiences.
'Family can have many interpretations and meanings.' Compare the ways family is perceived in these texts.
Compare how the two texts explore intergenerational relations and their importance.
Compare how, in Invictus and Ransom, the aftermath of forgiveness is both redeeming and transient.
"Words are powerful. They too can be the agents of what is new, of what is conceivable and can be thought and let loose upon the world." (Ransom) "Just words. But they helped me to stand when all I wanted was to lie down." (Invictus) Compare how words shape one's hope for change is explored in both texts.
'Stories hold unseen truth and potential.' Compare how the two texts explore the importance of storytelling.
Ransom and Invictus is usually studied in the Australian curriculum under Comparative (also known as Reading and Comparing). For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.
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