Let’s get real - nobody likes pancakes without any toppings, or a hamburger without the bun. Well, it’s the exact same for Text Response essays. For that deeply-desired ‘A+’ written on your SAC, you’ll need a holistic interpretation of your text; including some ingredients that are so commonly pushed to the periphery. There are several components that assist in making your essay ‘stand out’ against fellow students, and each should be addressed to convey comprehensive knowledge of your text. Along with the points below, don't forget to also read our Ultimate Guide to VCE Text Response.

Ingredients:

• Background research 
• Quotes 
• Vocabulary 
• Collaborating with friends 
• Practice writing essays 

Method:

1. Gather your resources; it’s time for a background check! Researching the context of your text is imperative for understanding its nuances. This is particularly necessary when investigating the author’s life, and the social, cultural and historical influences of the text. This may also answer those burning questions that you can never quite understand by just reading the text. Borrowing a book from a library, talking to your teacher, looking up queries on Google - is all it takes to have that deeper understanding to bolster your confidence … and potentially your grades!
2. Ever been stuck in the middle of your essay, just trying to remember what quote it was you wanted to write? It’s scientifically proven that how you memorise your material impacts its retrieval rate! Remembering items that are similar to each other improves the likelihood of recall in the long term and means that you won’t have to waste any time during your SAC with the sensation of knowing the quote, but not being able to retrieve it from memory. Therefore, organising your quotes in terms of themes, locations, settings or characters (and memorising them in the order of their category) can improve your ability to remember the information! 
3. I think we’ve all had that ‘Oh my God’ moment when you read someone’s essay and see a frightening number of long and complex words appearing in each sentence. Well, you can rest easy in knowing your sophistication and vocabulary isn’t the only indicator of a SAC’s worth. In fact, consider your vocabulary as sprinkles on a cupcake - too much is overload, but you do need to include some to compete with other students. If vocabulary is a particularly weak point for you, take your time once a day to look up a new word in the dictionary, or better yet, subscribe to an online dictionary to be emailed one new word’s definition per day.  
4. The best tip to doing well in English is passion! You may be thinking ‘well yeah, but I have none…” and this is something that is easily adaptable. The predecessor to passion is always interest! Creating a study group with friends, or even just talking to classmates before, during and after class to open discussion can provide you with a broader outlook on the text and get you asking questions such as ‘how?’ and ‘why?’. Everyone has different opinions, and so by hearing others it encourages you to share your viewpoint. 
5. The final step to any revision is practice, practice, practice! Just remember, writing essays should never be the first thing you do after studying your text, but should be the product of weeks of hard work. At this stage of the process you should have ideas shared from your friends, vocabulary relevant to the text, multiple quotes to embed and background knowledge! It makes the learning process so much simpler and easier to learn - relieving you from a tonne of stress as you approach your SAC date! 

To elaborate further on the example using Macbeth and Animal Farm:

Avoid simply drawing connections between the texts which are immediately obvious. It is clear that both Napoleon and Macbeth are powerful leaders. The questions below start to delve into a more insightful comparison between the two men (comparative words are bolded):

Macbeth and Animal Farm: common theme = power

How do they achieve power?

In Animal Farm, Napoleon is sly about his intentions and slowly secures his power with clever manipulation and propaganda. However, Shakespeare’s Macbeth adopts very different methods as he uses violence and abuse to secure his power.

How do they maintain power?

Both Napoleon and Macbeth are tyrants who go to great length to protect their power. They believe in killing or chasing away anyone who undermines their power.

What is the effect of power on the two characters?

While Macbeth concentrates on Macbeth’s growing guilty conscience and his gradual deterioration to insanity, Animal Farm offers no insight into Napoleon’s stream of consciousness. Instead, George Orwell focuses on the pain and suffering of the animals under Napoleon’s reign. This highlights Shakespeare’s desire to focus on the inner conflict of a man, whereas Orwell depicted the repercussions of a totalitarian regime on those under its ruling.

For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

Così 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.

Introduction

Note: Louis Nowra’s play is referred to as Così while Mozart’s opera is referred to as Così Fan Tutte in this study guide.

Background

Louis Nowra’s semi-autobiographical play, Così is a touching yet biting portrayal of human relationships in a Melbourne mental institution ostracised by society.

Prior to the 1970s, those who suffered from mental disorders were sent to mental institutions in order to prevent them from bringing shame onto their families and the community. Since there was little scientific progress on mental health, people with a spectrum of ‘illnesses’ were admitted. These ‘illnesses’ ranged from true mental instability, including Schizophrenia and Obsessive Compulsive Disorder to alcoholics and drug abusers. Due to the increase in social stigma towards these ‘problems’, those believed to be mentally ill were secretly admitted and matters only discussed privately within a family. It is because of the private nature of people dealing with mental patients in addition to people’s fear of the ‘abnormal’ patients that a divide between mental institutions and society existed.

Meanwhile, the Vietnam War, which occurred from 1955 to 1975, lead to over 100,000 Melbournian demonstrators at moratoriums to end the violence. The international dispute ignited as a result of North Vietnam’s desire to unite South Vietnam with North Vietnam under communism. In an attempt to prevent South Vietnam from being taken over as a communist state, the United States, Australia and other countries such as South Korea and New Zealand joined South Vietnam as anti-communist forces. While this war divided countries, it was also an issue that was highly debated by Australian citizens, as seen in Così.

Also during this period was a large force behind the feminist movement for women’s rights. The main concerns included education, equal pay in the workplace, and a women’s right to control their body – in particular the decision to use contraception and undergo abortion. As a consequence, a new era of ‘free love’ emerged, since women possessed sexual freedom. However, free love also criticises marriage due to the lack of emotional involvement, which leads to the question of fidelity and loyalty in committed relationships.

Setting / Time

Melbourne Mental Institution, Australia during 1970s.

Purpose

The line between reality and illusion is explored through the ‘insane’ characters as well as the ‘normal characters.’ Nowra demonstrates that reality is unique for each person, and often people may slip into illusions in order to avoid the truth. It is suggested that although they may not have been completely ‘normal’, those considered to be ‘insane’ still possess great insight that ‘normal’ people may overlook. Additionally, Così reminds the reader of the absurdities of a mental asylum shunned by society, which would only have added to patients’ instabilities, especially as families dealt with the matter secretly. Furthermore, the issue of love and fidelity since Mozart’s era is proven to be relevant up until our modern times.

Characters

Lewis

The protagonist of Così, Lewis is a new university graduate who has agreed to direct a play with patients from a mental institution because he required the money. At first, Lewis shares the same values as his friends Nick and Lucy, that love is unimportant due to the ongoing Vietnam War. During the time he spends with the patients however, Lewis experiences a turning point in his understanding and perception of people. By the end of the play, Lewis learns to appreciate love and friendship over war and politics.

Lucy

Girlfriend and roommate of Lewis. She has an affair with Nick who shares similar beliefs – that the Vietnam War protest is more important than anything else. Lucy cannot understand why Lewis is directing a play about love when thousands are dying in the war.

Nick

An experienced student director, roommate and friend of Lewis. He promises to help Lewis with Così Fan Tutte, however quickly he breaks this vow in order to spend time with Lucy. Lewis later discovers that Lucy and Nick are having an affair. Nick is heavily involved in the moratorium, a protest against the Vietnam War.

Doug

A patient who was sent to the mental institution as a result of burning his mother’s cats and home. He is a pyromaniac – someone who gains satisfaction from deliberately starting fires. He appears to light fires quite frequently, once in the theatre toilets and once outside the theatre. He also supports free love and is keen on the potential violence that may transpire at the moratorium.

Roy

A patient who insists on performing Mozart’s Così Fan Tutte even though none of the other patients can sing nor speak Italian. Believing that Lewis is a poor director, Roy takes charge assigning patients to characters in the play. He is quite blunt in expressing his opinions of others.

Henry

A shy patient who rarely speaks and avoids eye contact with others. A former lawyer, he now suffers from a disability with his left arm. However it is shown to be a false disability when he switches his ‘bad arm’ from left to right. He is obedient others, especially Roy. Towards the end of the play however, he overcomes his timidity to defend Lewis.

Cherry

A patient who has an abusive personality and carries a flick knife with her. She has a violent relationship with Doug, as she is always ordering him to ‘go burn a cat.’ She is overprotective of Lewis, with whom she has a crush. As a form of affection, she is constantly feeding him with food in order to ‘fatten’ him up.

Julie

A patient addicted to illicit drugs. She is Lewis’ love interest in the play and is a catalyst for Lewis and Lucy’s deteriorating relationship. She believes that men have double standards, since females are routinely targeted for their infidelity while men are also unfaithful to their partners. It is revealed after her affair with Lewis that she is involved in a relationship.

Ruth

A patient suffering from an obsessive disorder. Throughout the play, she focuses on minor issues such as having real or fake coffee on set, and the number of steps she needs to take to reach her position on stage.

Zac

A catatonic patient who takes the part of musician for Così Fan Tutte. He prefers to play Wagner over Mozart, which sparks a dispute between himself and Roy.

Justin

A social worker who organised the patients from the mental institution to be a part of the theatre project. He is patronising towards the patients and represents society’s view on the mentally ill.

Themes

Fidelity & infidelity

According to Mozart’s Così Fan Tutte, the issue of fidelity is depicted to be an ideal that is never achieved. Since ‘women are like that’ – the interpretation of ‘così fan tutte’, Mozart encouraged the belief that men should simply accept women are indeed disloyal in relationships. Nowra illustrates this same idea about women and infidelity through Lewis and Lucy’s relationship. While Lucy is ‘sleeping’ with Lewis, she is also triflingly ‘having sex’ with Nick. When Lewis discovers Lucy’s betrayal, she waves aside his shock, defending that ‘it is not as if we’re married.’ The revelation does indeed prove that Così Fan Tutte is correct in stating that, ‘woman’s constancy is like the Arabian Phoenix. Everyone swears it exists, but no one has seen it.’

Although the women in both Così Fan Tutte and Così are shown to be unfaithful, so are the men. While the men in Così Fan Tutte do not actively participate in adultery, they do fabricate their departure to the war and also disguise themselves as ‘Albanians.’ Their deception is also a betrayal to their wives. Meanwhile, Don Alfonso manipulates everyone. As seen in Così, Lewis is unfaithful to Lucy as he kisses Julie during rehearsals. Julie later reveals that she has a girlfriend who she would prefer to be with, confirming that both men and women are unfaithful in relationships.

Sanity & insanity

The line between sanity and insanity is explored through the juxtaposition of the patients and society.  In the 1970s, those who behaved abnormally were declared to be ‘insane’ and placed in mental institutions that were shunned by society. As we now know with scientific developments, these environments often failed to assist their patients. The use of electric shock therapy for example, frequently lead to severe, long term negative effects upon patients.

While the patients were viewed as ‘madmen’ from outsiders, Lewis soon discovers that they are in many ways, ordinary people. Although each patient has a mental flaw, all possess interesting opinions and beliefs on different matters. It was perhaps society’s abandonment of these people that so few were able to appreciate them as ordinary humans. Instead, many adopted a sense of fear and patronisation towards the ‘insane.’

Reality & illusion

The question of what is real or an illusion is weaved through the patients’ state of mentality. As shown through Ruth who struggles to pretend having real coffee on stage, it is difficult for some to distinguish reality from illusion, even if it is clear to everyone else. For others, they may willingly refuse the truth and succumb to an illusion. Lewis deluded himself into believing that Lucy was faithful, when all signs such as Nick residing in the same home and Nick and Lucy spending time together, indicated that Lucy was in fact, blatantly disloyal.

Misogyny

Misogyny, or the hatred of women is commonly shown through Così. Set in a time where women’s rights were rapidly shifting, the hatred of women for being merely female grew more prominent. The idea of misogyny accompanies the tradition of male-dominated societies where women had few, if any privileges and power. Nowra attacks Lucy’s involvement with free love encouraging readers view her with emotions of disdain and distaste. Women’s hatred towards their own sex is also a form of misogyny. Cherry and Julie’s strained relationship involving Lewis’ affections is explores suspicion, jealously and overprotection.

Learning & Self-development

Lewis’ experience with the patients does, as Justin predicted, teach him more than his entire university education. At the beginning, Lewis is only interested in earning some money and alike other outsiders, views them as madmen. However, as he works with the patients, he develops a new perspective and insight into certain matters and himself. When Nick and Lucy denounce him for doing a play about love, Lewis sees that love is important, regardless of the Vietnam War. He learns about the importance of friendship and instead of attending the moratorium, helps the patients prepare for their performance with an additional rehearsal.

Symbols

Burnt-out theatre

The setting of a burnt-out theatre depicts the miserable environment the patients of mental institutions are forced to live with. As they are ostracised by the community, a lack of care and support is shown through the rejected and deteriorating theatre. The patients’ considerable enthusiasm highlights their unfortunate circumstances, since even a chance to spend their time in an old building performing a play causes much excitement.

Arabian Phoenix

The women in both Così Fan Tutte and Così are compared with the Arabian Phoenix. The mythical creature is a representation of women, for it is beautiful and enchanting, capturing men such as the god Apollo with its voice. This reflects the power of women to attract men. Nevertheless, its rarity, as often commented in Cosi, is linked with the seemingly infrequent loyalty demonstrated by women.

Lights

The lights in Act 1 Scene 1 highlight Lewis’ entrance into a new world, where he associates with patients who will ultimately, help him in learning and self-development. At first Lewis possesses a ‘pitch black’ perspective of the world, along with Lucy and Nick. This is a representation of their modern beliefs that circulate around politics and the war. When the lights are turned on, Roy is present, demonstrating that the patients of the mental institutions are the source for Lewis’ changing perspective throughout the play.

Così: Act 2 Scene 3

Plot

On opening night, Lewis gives in to Zac who wants to include a last minute piano piece. Julie comes in, telling Lewis he needs to speak to Roy, who is undergoing stage fright and wishes to quit the production. Lewis leads Roy to a private area, and is empathetic as Roy fears of forgetting his lines and people staring at him. Lewis encourages him that people should be looking at him all the time, since that would mean he is giving a good performance. Realising the truth in Lewis’ comforting words, Roy announces that ‘I’m back!’ [pg 75] and heads off to put on his costume. Lewis asks Cherry if Roy’s parents are coming, but Cherry reveals that Roy is an orphan, although he pretends otherwise.

Nick, who showed up unseen, comments that the noticed Lewis was absent at the moratorium. Lewis replies that he ‘didn’t have time. We only stopped rehearsing an hour ago’ [pg 76]. Asking if Nick and Lucy are staying to watch, Nick replies that they are going to ‘celebrate the moratorium’ since ‘she doesn’t want to see an opera about a few upper class twits.’ Lewis realises that Nick is planning to have sex with Lucy that night. Unable to tolerate anymore of his old friend, Lewis punches Nick to the floor when he starts to sing ‘They’re Coming To Take Me Away Ha-Haaa’. Nick retaliates by declaring that Lucy left Lewis because he was a ‘lousy fuck’  [pg 77], and leaves.

Cherry, pleased to hear that Lewis is no longer with Lucy, kisses him on the cheek. Seeing Julie walk in, she threatens, ‘he’s mine!’ [pg 78] and heads off. Lewis leads Julie off stage to show her ‘how to move those flats for the change.’ Zac enters, and noticing no one is on stage apart from Ruth, asks her for sex only to be slapped across the face. Henry runs past crying that he said ‘Macbeth’ and Roy ‘tried to strangle’ him because of the omen of saying ‘Macbeth’ before a performance. Zac swallows multiple pills in order to calm his sexual desires down.

Hearing the audience enter the theatre, Lewis and Julie quickly kiss before the show. Ruth runs in, crying for help since Zac is in comatose. Lewis and Julie run off to help. Ruth, acknowledging the chaos, calls Henry to begin his part since they will skip the overture.

Analysis

Throughout Cosi, Roy presents himself with a dominating and forthright personality. The change in his temperament to cowardly is understood when Lewis discovers that Roy is in fact, an orphan. His strong external image concealed his fears and insecurities since he had never had a true family. Instead he ‘farmed out to foster parents who, realising what a nut case they had on their hands, put him back, quick smart’ [pg 76]. His sudden change in behaviour before performing to an audience is due to his fear of being people ‘staring’ [pg 75] at him. Since he had spent much time inside wards, an indication of his adopted family’s failure to support him, Roy has become used to being a ‘reject.’ Hence, he has lived a life unnoticed and insignificant. His role in the play however, places the attention and spotlight onto him for the first time.

The split between Lewis and Nick’s friendship is forged due to their contrasting ideas. Nick’s betrayal by believing that ‘I thought you’d think the same [about free love]’ [pg 77] rather than appreciating his friend’s opposition in sharing Lucy demonstrates that Nick has no sense of respect for loyalty, either in friendships nor romantic relationships. Lewis’ statement that ‘women’s constancy is like an Arabian Phoenix’ is not only applied to women, but also men, reinforcing the idea that both sexes can be disloyal.

Nick satirises the patients by singing the song ‘They’re Coming To Take Me Away Ha-Haaa’ by Napolean XIV, a popular and successful single released in 1966. The song adopts society’s view on the mentally ill by including politically incorrect lyrics about a man about to be sent off to a mental institution. Nick’s treatment of the patients as merely a joke only further drives apart his friendship with Lewis.

Important Passages

‘Lewis, you’ll have to speak to Roy…I’m back!’ [pg 74 – 75]

‘Opening night nerves, Lewis?….[He goes]’ [pg 76 – 78]

Important Quotes

‘I purposely didn’t take me medication today so I’d be right on top of everything.’ [pg 73]

‘I don’t have a concept, I’m a director.’ [pg 74]

‘A hundred thousand people, maybe 200. Took hours to get to Parliament House, yelling out, ‘1, 2, 3, 4, we don’t want your fuckin’ war’. Radicalised the nation.’ [pg 76]

‘No, she’s sleeping with you, we’re having sex.’

‘Lucy’s not possessive about you, I’m not possessive about her. What’s the fuss?’

‘What are you on about – too much time with the loonies, Lewis.’ [pg 77]

‘It’s only sex.’

‘Women. You have to wrap it all up in fancy language and then they swoon for you, when all it comes down to is the same thing.’ [pg 79]

‘Women are God’s punishment for men playing with themselves.’

‘Everyone blames women but I forgive them, if they change their love a thousand times a day, some call it sin, others a drug but I think it’s the necessity of women’s hearts.’ [pg 80]

Così: Act 2 Scene 4

Plot

The group performs the final scene of the opera with Ferrando and Guglielmo in their Australian military uniforms. The queue for music is missed, and the group whisper to each for one of them to faint. Roy pretends to have a heart attack while Lewis runs off stage to turn on the music. They all sing to the Italian tune with Ferrando and Guglielmo declaring that they will not ‘put [their wives] to the test again’ [pg 83] while the women declare that they ‘will compensate your heart / with love and with fidelity / and will love you forever.’

Analysis

The correlation between the two plays is illustrated since both the men and women discover each other’s disloyalty. While Ferrando and Guglielmo are aware of their wives infidelity, the wives learn that the men deceived them into believing that they had been sent to the war. This storyline is similar to Lewis and Lucy’s relationship, since Lewis kissed Julie while Lucy slept with Nick. Nevertheless, the conclusion of the opera indicates that despite the ‘vicissitudes of life’ [pg 84], one must accept that life comes with both ups and downs in order to ‘find serenity and peace’.

Important Quotes

‘We are safe and sound and have returned from the war our hearts full of joy / Wanting to embrace our sweethearts and thank them for their fidelity.’ [pg 80 – 81]

‘I’ve deceived you but my deception / undeceived your lovers who, / from now on will be wiser. Give me your hands, now that you’re united / Embrace each other and say no more about it / All four of you can laugh now / as I have laughed and will continue to laugh.’ [pg 83]

‘My love, if this is true / I will compensate your heart  / with love and with fidelity/ and will love you forever.’

‘I believe you, my beautiful one, / But I won’t put you to the test again.’

‘Is this a dream / I’m confused and ashamed / But doesn’t matter if they fooled me/ because I’ll fool others.’ [pg 84]

‘Happy is the man who calmly takes life as her finds it / and through the vicissitudes of life / lets himself be ruled by reason / what makes another weep / will make him laugh / and despite the tempest of his life / he will find serenity and peace.’

Così: Act 2 Scene 5 

Plot

After the performance, Justin congratulates Lewis on his ‘marvellous’ [pg 84] play. He comments on how Lewis succeeded in brining the cast ‘out of their shells,’ the goal of his project. Congratulating Lewis again, Justin presents him an envelop with his pay.

Ruth thanks Lewis while still obsessing over the number of steps she took on stage. Doug comes up, stating that he was a part of the audience. He asks about Lewis’ girlfriend and when Lewis shares that he and Lucy have split, Doug says he meant Julie. Lewis avoids the question; Doug goes on to declare that he might go after Lucy since she is into ‘free love and orgies’ [pg 86]. As usual, Cherry tells him to ‘go burn a cat.’ Cherry shoves chocolate liqueur down Lewis’ mouth. She then kisses him ‘long and passionately’ and departs. Henry shakes Lewis’ hand with his left hand that was previously ‘paralysed.’ Lewis asks Henry about his arms, but Henry brushes it off, saying that the bad arm ‘changes.’ Henry exits.

Lewis undresses, only to have Julie watch him surreptitiously. She reveals that she’s going to leave the institution for Sydney, and an upset Lewis offers to driver her to the railway station. However, she quietly rejects his offer since she thinks she has fallen for him. She explains that the problem is that she has a girlfriend, who will be joining her in the move. She announces her goodbye by kissing him on the cheek. Coincidently Cherry walks in, and upon seeing the kiss, pulls out her flick knife. Lewis jumps between the two to protect Julie and fervently kisses Cherry in order to calm her down. He takes the knife from her, calling it a ‘keepsake’ [pg 87]. Julie leaves by mocking Cherry, declaring that Lewis was ‘the best lay I’ve ever had’ [pg 88]. Lewis calms Cherry once again by saying that Julie was only ‘teasing’ her. Roy comes in, providing Lewis a list of criticism, declaring that next year, they will perform Don Giovanni.

Alone, Lewis explains in a soliloquy that ‘there was no next year’ since the ‘theatre mysteriously burn down a week after the performance.’ He had moved out of his apartment soon after. Lucy and Nick ‘didn’t last long because both were not into fidelity.’ Cherry had sent him a love letter, while Ruth became a ‘time and motion expert’ after leaving the institution. Roy moved between wards. Henry and Julie died while Zac joined the music industry. Lewis then turns off the lights on stage leaving the darkness behind.

Analysis

Albeit the chaotic performance with missed music queues and the consequent improvisation, the play is a success. The overall experience of working with each other has enlivened the patients and helped them to ‘blossom’ [pg 84] out of their solitude. Cherry’s favourite phrase, ‘go burn a cat’ [pg 86] presents a tone of affection towards Doug, rather than her previous feelings of irritation. The flick knife, previously a symbol of her cold defense and sharp character is now in the hands of Lewis, demonstrating that she has rendered herself to warmth and fondness.

Meanwhile, Henry accidently switches from one bad arm to the other, which may be an indication of improving illness. The ‘bad arm’ is a physical representation of his illness, but the shift between arms may demonstrate that the illness is no longer absolute due to the delight the project has provided Henry. His death however, indicates a relapse in mentally, and draws the conclusion that although the project was highly beneficial, it was fleeting.

Although Roy initially despised Lewis’ directing skills, his presentation of the list Lewis demonstrates that Roy does appreciate and value Lewis’ work. Roy’s positivity towards creating a new play the next year again how a simple project can drastically help the ill, in contrast to the mental institutions that seem to do very little, if not even worsen the health of patients.

Important Quotes

‘What can you expect from catatonics, right?’ [pg 84]

‘My motto is to try and try again.’

‘You do this old fashioned opera – this is the era of free love and orgies.’ [pg 86]

‘I need my girlfriend. She’s stood by me, through thick and thin, mostly thin.’ [pg 87]

‘You do have a few teething problem with your direction. I made up a list of them.’ [pg 88]

‘Always use the word please and thank you when addressing the cattle, after all, they’re not actors.’

Così: Essay Prompts

1. Così contends that some things are more important than politics.
2. In Così, the ‘insane’ characters are quite normal.
3. The line between reality and illusion is often blurred.
4. Ironically, it is through the ‘madmen’ that Lewis learns what is truly important.
5. Nick and Lucy’s ‘modern’ value of free love is depicted to be a backwards belief. Discuss.
6. In the face of betrayal, Lewis discovers loyalty.
7. ‘They are normal people who have done extraordinary things, thought extraordinary thoughts.’ Così depicts the ‘insane’ characters as heroes. Discuss.
8. Mozart wrote, ‘women are like that’ due to their infidelity. Do the characters in Così confirm this belief?
9. Beneath the humour in Così is a brutal depiction of society’s treatment of the mentally ill.
10.  In Così, all characters are forced to face reality.
11. In Così, Lewis plays more roles than just a director of the group.
12. It is not only Lewis who learns in Così, but other characters as well.
13.  Così demonstrates that illusion is a safer place than reality.
14. ‘Love is an emotional indulgence for the privileged few.’ Does Così warrant Lucy’s beliefs?
15. ‘It’s about important things – like love and fidelity.’ How does Lewis learn to distinguish what is important and what is not?
16. While the characters in Così work as a group, Così calls attention to their isolation. Discuss.
17. The Australian involvement with the Vietnam War only highlights the importance of love and friendship.
18. Così is not a play about patients; it is a play about people.
19. It is through their performances in Così Fan Tutte that the characters discover themselves.
20. Così demonstrates there is darkness in both reality and fantasy.

Così: Study Tips

Learn about Così Fan Tutte

An understanding of Mozart’s Così Fan Tutte is required in order to comprehend the themes and purpose of Louis Nowra’s play, Così. The most significant connection between the two pieces is love and fidelity. Much alike the men in Così Fan Tutte, Lewis is confronted with a similar experience where his partner, Lucy is having an affair with his friend, Nick. However, while there are many similarities, there are also considerable differences. Make sure that while studying Così, comparisons are made between the themes, setting / time and dialogue. Furthermore, listen to Così fan tutte. Hearing the opera can help auditory learners gain insight into the emotions and thoughts of the characters via pitch, rhythm etc.

Appreciate that Così is a play

Think about why Louis Nowra chose a writing style of a play. In plays, not only is the dialogue important, so are stage directions and setting. Understand the significance of a play within a play.

Watch Così the film

This is a good way to consolidate or revise your knowledge, especially for visual learners. The film provides a chance to additional insight into characters, setting and dialogue.

Mark Joffe directed the film, Così in 1996. It stars Ben Medelsohn as Lewis, Barry Otto as Roy and Toni Collette as Julie.

Research on history

Historical events and politics during the 1970s are heavily weaved throughout Così. Nowra reflects on the treatment of mentally ill, the Vietnam War, and women’s liberty throughout the characters in the play.

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Whether you’re studying english, literature or even language it’s hard to avoid Shakespeare. So, we’re going to take a broad look at: Shakespeare’s historical context, his language, and of course, what this means for interpreting his plays. Since Shakespeare has so many plays chances are your text will be excluded. Instead I’m going to use Othello as a case study.

Before you start reading, LSG's Ultimate Guide to VCE Text Response is a must-read for anybody studying VCE English.

Background

Othello follows the Moorish general Othello and his relationship with his wife, Desdemona. The antagonist Iago is jealous that Cassio was made Lieutenant instead of him, and seeks vengeance on Othello. Iago attempts to destroy Othello’s reputation, and uses the rich but foolish Roderigo to fund his revenge plot. Through careful manipulation of his Wife Emilia, Roderigo, Cassio, and Othello, Iago convinces Othello that Desdemona is unfaithful, sending him into an obsessive jealousy. When Emilia steals Desdemona’s handkerchief, a token of Othello’s love, and Desdemona cannot produce it, Othello believes he has all the information necessary to condemn Desdemona. He smothers her to death, before Emilia reveals Iago’s involvement. Othello, struck by regret, stabs himself, declaring that he “loved not wisely but too well”

Context

So who is this Shakespeare guy? And more importantly, what kind of a world did he live in?

Shakespeare was born in England in 1564, in the middle of the Renaissance Period. This period of “rebirth” was categorised by the increasing reliance on ancient classical authors for information about the world. This is why Shakespeare plots are famously reinterpretations of Ancient histories and Roman plays. Changes in education resulted in the Elizabethan moral and social customs being questioned. This included the Divine Right of Kings, and notions of gender and identity.

Religion is also significant in this period, and the Protestant Reformation is a subject often alluded to by Shakespeare. It is necessary to contextualise Shakespeare within the Renaissance period, because as you will see, themes, words, and references that make very little sense to us were common knowledge in Shakespeare’s time, and understanding them boosts our appreciation of his work.

The context and intent of the author are important considerations when studying VCE English or Literature. For more on this, read Context and Authorial Intention in VCE English.

The Language

Now that we understand when Shakespeare was writing, let’s look at how.

Starting as broadly as possible, Shakespeare’s difficult-to-read language is actually Early-Modern English, and so many words Shakespeare used are either lost or unused in modern English. Any good copy of Shakespeare will have definitions of these words in the margin or opposite page.

Moving in closer, we have the two types of plays, Tragedy and Comedy.

Comedy is tonally more light-hearted, and has an apparently happy-ending. These are Twelfth Night, Much Ado About Nothing, or As You Like It among others. Despite being made to entertain, they are rarely unsophisticated, and the genre may mask something more sinister. For example, the character of Malvolio in Twelfth Night is entertaining and presented as self-obsessed, but could be used as an example of Shakespeare critiquing masculinity in Elizabethan society, as Malvolio feels entitled to Olivia’s affections.

Tragedies cannot be defined by their tone, however. They are defined by a tragic hero, who has a fatal flaw or Hamartia that results in their downfall. This may be Othello’s Jealousy, Macbeth’s ambition, or Brutus’ naivety in Julius Caesar. These traits all cause the tragic heroes’ demise, as their hamartia leads them to make bad decisions or fail to address the real evil. Tragedies will usually end in the unnecessary loss of lives and an unhappy ending for all involved. Most of Shakespeare’s plays fit into tragedy, including most of those based on historical figures. An analysis considering the conventions of Tragedy--like hamartia and tragic heroes--is a great way to stand out when discussing Shakespeare, and so when interpreting a tragedy you should consider what about it is tragic. For example, is Othello a tragedy because Iago is able to manipulate Othello, or is Othello’s jealousy and mistrust ever-present? Either of these options reveals Othello to be a tragedy, however they both say different things about the characters and plot. If Iago manipulates Othello, the tragedy is because a fundamental good person is corrupted. However if Othello was always mistrusting, the play becomes tragic as the audience must watch an unloving marriage slowly dissolve.

Next, we have the two ways Shakespeare formats his dialogue. Students will often focus on what the characters say without considering how it is said. Knowing the difference between Verse and Prose and how they are used is an easy way to stand out in an essay.

Verse is essentially poetry, where one line follows another. It can rhyme, but often doesn’t. What Shakespeare verse will ALWAYS do, however, is follow the Iambic Pentameter. This is a line of poetry with 10 syllables where every second syllable is stressed. This creates a kind of bounce or flow like a heartbeat. The easiest way to recognise this is to count the syllables in each line: thus / do / i / ev / er / make / my / fool / my / purse. Pay attention to when it is not followed, or when characters are interrupted during the pentameter. When the pentameter is interrupted by another character, look at who is interrupting it. It is likely to reveal a power dynamic between the two characters. Alternatively, a character finishing the pentameter, literally finishing their sentence, could be a symbol of love or affection between them. Using linguistic devices like the iambic pentameter as evidence shows an understanding of the text beyond the words spoken

The alternative format is prose. It’s used quite sparingly so look out for it. Is the way we speak normally in conversation, or how a normal novel is written. You can tell a character is speaking in prose as it’s usually just a big chunk of text. Shakespeare’s prose can reveal different things, so it depends on the context and the character using it. In act 1 scene 3 of Othello, Iago speaks to Roderigo in prose and then transitions to verse once Roderigo leaves. This displays Iago’s ability to code-switch and manipulate those around him with words. Prose is considered more simplistic, so in order to control Roderigo, who is presented as quite dumb, Iago relies on simple language, bringing himself to Roderigo’s level. This is directly contrasted with Iago’s use of the complex verse form, which he uses at all other times.

Interpreting Shakespeare

We’ve now covered Shakespeare’s historical context, his play styles, and his dialogue, but what should we look for when reading Shakespeare that allows us to use this information in a text response or close passage analysis. I’ve already given some examples of how Shakespeare’s language is relevant to his themes, but I’m going to give a rough guide of what themes are common in Shakespeare’s plays, and how they are shown in the language.

Fate versus free-will

This is a theme that can lead to a long discussion and gives you the opportunity to express your own opinion. Are the characters acting with free-will, or is some other force impacting their fate? This isn’t really in Othello, so let’s look quickly at Macbeth; if we consider fate versus free-will with the characteristics of a tragedy in mind, then the tragic hero must act freely even though his ‘fatal flaw’ will lead to his demise. However, the inclusion of the witches in Macbeth subverts the tragic structure and implies Macbeth is being toyed with. Even though Macbeth believes he is in control his fate is met, so is it a coincidence that his decisions fulfill his fate, or was the Witches’ prophecy real?

Appearance versus reality

The different uses of verse and prose are a good way to show when characters are genuine or performing for others. I have already mentioned how Iago ‘code-switches’ by using prose to speak to Roderigo, appearing simple and ‘laid-back,’ but his revelatory soliloquy in verse displays his true nature, both in the content of the speech, and the way it is presented.

Order and disorder

In Othello, disorder could be represented by Iago, destabilising the lives of those around him through his use of rhetoric and manipulation. Order is then returned when Iago is revealed and Othello takes his life, recognising himself as tragically misused. Analysing the theme of order and disorder would support the interpretation that Othello is a good man controlled and abused by disorder and manipulation.

Conclusion

So, hopefully this very brief introduction helps you get into Shakespeare! Even if I didn’t cover your text, the use of tragic heroes, prose, verse, and iambic pentameter are things evident in all Shakespeare plays, so you just have to make it relevant to your text. And remember that in order to read Shakespeare, one must first read Shakespeare. It may take several readings or viewings to grasp what is happening in the play, only after that can you start to analyse in the way I have today.

We've curated essay prompts based off our All the Light We Cannot See Study Guide which explores themes, characters, and quotes.

LSG-curated All the Light We Cannot See Essay Topics

1. Contrary to what the title might suggest, All the Light We Cannot See explores light more so than darkness. Is this true?
2. How does Doerr’s narrative structure highlight the similarities and differences between Marie Laure and Werner in All the Light We Cannot See?
3. All the Light We Cannot See demonstrates that war brings out the best and worst in humanity. Discuss.
4. Explore the forms of courage demonstrated in All the Light We Cannot See.
5. What is the role of family in All the Light We Cannot See?
6. Werner’s character is defined by his cowardly and harmful conformity to the Nazi regime. To what extent do you agree?
7. All the Light We Cannot See is a warning against unethical and selfish scientific pursuits. Discuss.
8. Who deserves our sympathy in All the Light We Cannot See and why?
9. Throughout All the Light We Cannot See, various forms of guilt are shown to be emotionally crushing. Is this true?
10. “Don’t you want to be alive before you die?” Explore the value and meaning of human life as evinced in All the Light We Cannot See.
11. No character from All the Light We Cannot See is totally monstrous, just as no character is totally pure. Do you agree?
12. In All the Light We Cannot See, Doerr suggests that nobody truly has agency over themselves. Discuss.
13. More so than any other object, it is the radio which drives the plot of All the Light We Cannot See. Is this an accurate statement?
14. All the Light We Cannot See posits that strength must come from within. Discuss.
15. “Open your eyes and see what you can see with them before they close forever.” To what extent do characters exhibit this sentiment in All the Light We Cannot See?

All the Light We Cannot See 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.

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This is a 7 part series of videos teaching you how to analyse articles for your SAC. Your school will give you three texts which can consist of articles (opinion, editorial, letter to the editor) or images (cartoons, illustrations, graphs). We've used VCAA's 2016 English end of year exam for this series of videos.

Steps before you get started:

1. Make sure you download and analyse VCAA 2016 exam yourself first, then join me in analysing the texts together.

2. Scroll all the way to the bottom of this blog post to download my annotations plus the full essay referenced in these videos. Let's get started!

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Looking for more VCE Language Analysis videos? Be sure to check out my analysis of the VCAA Sample 2020 exam.