The most overlooked aspect of English is probably the actual reading of your English novel. Shockingly, there are some students who believe that they can still do well in English without reading their texts – but that’s a topic for another blog post. Since VCE is about strategy, you should think about how you can maximise your learning while minimising the time spent reading. Some students only read their text once, while others read up to 5 or 6 times! For some one reading may be sufficient but in most circumstances it is definitely not enough. Conversely, reading more than 5 times might be a bit excessive. After asking ex-VCE students who have excelled in English, the overall consensus is that you should read your text 3 times before the English exam. Here’s why:

Reading 1 : The first reading should be done in the holidays prior to your school year. Yes, it is during the holidays but you will be thankful you started early when you’re in the middle of numerous SACs, assignments and homework during the year. You should take your time with the first reading in order to let the information soak in. Focus on exposing yourself to the characters and themes. Since many essay topics are based on characters or themes, this will help you foresee the types of prompts you’ll be asked. If it is a more difficult text to understand (such as Shakespeare), rather than pushing through your reading and trying to understand the plot, have a look at study guides first in order to gain a better understanding from the outset.

Reading 2 : This should be done while you are studying your text at school. Using the new information taught in class (such as character, theme, context and metalanguage analysis), a second reading will help you build on the knowledge from your first reading. During the reading, you should start to take note of key passages and draw out important quotes. This will set you up for the SAC and mean that you have read your text twice before your SAC.

Reading 3 : Your third and final reading is to be completed before your English exam. An ideal time is the term 3 holidays. Since it may have been a while since you studied the text, the third reading is crucial for knowledge consolidation. You should watch out for things that you missed during first two readings – usually small pieces of information that are unique and when used in essays, will separate you from other students. These include: not-so-popular quotes, passages that haven’t been discussed in class, fleeting descriptions of characters etc. Remember that the best essays involve interesting and original discussion of the text.

Summary 

Reading 1 : Initial exposure to the text and an idea of what prompts may be asked in SACs and the English exam.

Reading 2 : Essential for identifying key details for SAC preparation.

Reading 3 : Vital for consolidation prior to the English exam and finding information that will distinguish yourself from other students.

So with this in mind, figure out how you will approach your readings throughout the year, and most importantly – get started early!

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video!)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt, you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here.

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1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. (Macbeth)

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. (Frankenstein)

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant?’ (The Lieutenant)

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. (Rear Window)

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts.

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth? (Macbeth)

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into? To learn more about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response.

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It’s time your conclusions got the attention they deserve! So grab a massive piece of chocolate, a glass of water and prepare to be taught about the beginning of the end (of your essay, that is).

Having a rushed conclusion is like forgetting to lock your car after an awesome road trip- that one rushed decision could jeopardise the whole experience for your assessor. A mediocre conclusion is the same as powering through a 500 metre race then carelessly slowing down seconds before the finish line! Dramatic comparisons aside, the way you choose to end your text response either leaves the marker with a bad taste in their mouths or increases your chance of hitting a home run. On the other hand, if you’re feeling discouraged by how your essay has shaped up to be, having a killer conclusion could set you up for a pleasant surprise.

5 Tips for a mic-drop worthy conclusion

1. Make a plan for the conclusion

It has been said many times, “If you fail to plan, you plan to fail” and it could not be more true when it comes to crafting a killer conclusion. By setting a few minutes aside before even beginning your essay to plan everything out, you get to see the necessary elements which you will want to address in your conclusion. In simpler terms, an essay plan reminds you of your contention and your main points, so that you are able to start gathering all of your arguments and create the perfect concluding paragraph. Planning for each paragraph sets you up for a win as you begin to refine key ideas and explore the many ways of expressing them, which is crucial for a conclusion.

2. Don't tell the reader you are concluding!

Time and time again I have seen people fall into the trap of using phrases such as “in conclusion” or “in closing”. The person marking your work may be blown away by the majority of your response, then reach those rotten words and will reconsider this thought. Being this ‘obvious’ with opening a conclusion does not earn any points. In fact it’s simply not sophisticated. The main reason many students are tempted to begin in such a clumsy way is that they don’t know how to begin their conclusion. If you are having difficulty to start and experiencing a bit of writer's block, simply go back to your essay plan and start to unpack the contention - it’s that easy! Rephrase your answer to the actual essay question.  In most cases, you can just cut out those nasty little words and the opening line of your conclusion will still make perfect sense.

3. Rephrase, not repeat

The definition of a conclusion is literally to “sum up an argument”, thus your last paragraph should focus on gathering all of the loose ends and rewording your thesis and all of your arguments. It’s great to reinstate what you have said throughout the body of your response but repeating the same phrases and modes of expression becomes bland and bores the reader. Instead, aim to give them a fresh outlook on the key ideas you have been trying to communicate in the previous paragraphs. All it takes is a little time to change the way you are saying key points so that the conclusion does not become tedious to read. Conclusions are there to unite all of your points and to draw a meaningful link in relation to the question initially asked.

4. Keep things short and sharp

Your closing paragraph is NOT for squeezing in one or more ‘cool’ points you have- no new points should be brought into the conclusion. You should focus on working with the arguments and ideas that have ALREADY been brought up throughout your response. Introducing new arguments in that last paragraph will cause a lack of clarity and may cause the paragraph to become lengthy. A long conclusion will slow down the momentum of your piece and the reader will begin to lose interest and become impatient. Having a clear aim before writing your conclusion will help avoid a lengthy paragraph as your final thoughts will be more concise and refined.

5. The last line is where you get to really shine

Your closing sentence is the ultimate make or break for the entire essay so it is a shame to see many responses ending awkwardly due to students running out of time or becoming lazy with that final sentence. Last words are so important but don’t spend too much time on it! One awesome way to finish is with a very well thought-out phrase which summarises your contention one last time. Imagine dropping the mic after the final sentence of your essay, your conclusion needs to be stronger.

If you need further help on Text Response (including essay structure), check out our Ultimate Guide to VCE Text Response.

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The Memory Police by Yoko Ogawa is usually studied in the Australian curriculum as a Text Response. For a detailed guide on Text Response, check out our How To Write A Killer Text Response study guide.

Introduction

Can we truly understand a novel without first dissecting its characters and the intent behind them? In any text, characterisation is the foundation of meaning - authors create complex figures not just to drive the plot but to explore deeper ideas. In The Memory Police, Yoko Ogawa’s characters embody different responses to control and loss, guiding us to consider how memory shapes identity. Why do some characters resist while others comply? How does Ogawa’s characterisation reflect broader ideas about power and survival? Let's take a closer look!

The Narrator 

The narrator offers a deeply personal lens into the island’s quiet despotism. But can she really be trusted? Ogawa crafts her as both a victim and participant, forcing readers to question the morality of survival in a world built on forgetting.

Symbols of Collective Experience

Ogawa intentionally omits the names of all characters (the narrator, the old man, R, etc.), creating a barrier between the reader and the individuals in the story. These vague descriptions highlight the impact of oppression, allowing the narrator to embody the 'ordinary person' living under a repressive regime. Her anonymity reinforces the theme of erasure, as her personal identity fades into the collective experience of loss. This reinforces the novel’s exploration of what makes us uniquely human. It highlights the dangers of losing individuality in the face of overwhelming societal forces. 

Resignation Versus Resistance

The narrator is initially shown as resigned to the disappearances, reflecting the passive acceptance of the society around her. However, beneath this indifference, she quietly resists, through actions like her secret writing and efforts to protect R. This characterisation demonstrates that even in oppressive systems that strip away individuality, the human conscience remains powerful. Ogawa portrays the narrator as multifaceted, highlighting that the human spirit is resilient and that, even in the most difficult situations, the desire to resist oppression can manifest in small unexpected ways. 

• ‘One night I made an effort to write some words on the manuscript paper. I wanted to leave a record of what I saw in that dimly illuminated void of my memories. It was the first time I had done such a thing since the novels disappeared’.

• ‘I have a place to hide you. Please come with me’.

Relationships as a Reflection of Humanity

Ogawa highlights the narrator’s need for human connection through her relationships with the old man and R. She relies on the old man as a father figure, showing the importance of familial bonds in times of crisis. As people on the island continue to disappear, her dependence on him grows, reflecting the paranoia and isolation she feels.

Her bond with R is also significant but more complicated. Though they find comfort in each other, their relationship remains tense. It raises questions about the cost of survival and the ethical compromises made in such extreme circumstances.

Ogawa uses these relationships to explore the moral complexities of human connection under oppression. These bonds offer comfort but also complicate survival, illustrating the delicate balance between trust and the risks of attachment in a world where everything is being erased.

• ‘“But I won’t let you go.”
  “And I don’t want to go. I want to stay with you, but that won’t be possible. Your heart and mine are being pulled apart to such different, distant places.”’

• ‘But do you think he’ll ever be able to come out of hiding?...I doubt it…I suppose my job is to go on holding him here at the bottom of the sea.’

R (The Editor)

Memory as a Burden and a Gift

R is portrayed as a custodian of memory, holding onto forgotten objects and personal histories that others have lost. As he works to preserve these memories, he becomes increasingly alienated from society and his loved ones. Ogawa uses R’s character to explore the complex nature of memory - does preserving the past offer comfort, or does it bring more pain? The uncertainty surrounding R’s fate at the end of the novel reflects the tension between memory’s ability to sustain us and its potential to cause emotional distress. 

• ‘“R seems to think he can keep anything in the hidden room”.
  “Yes, he believes in the power of the hiding place we’ve made. But I have my doubts. Of course, I wouldn’t think of telling him about them, and what good would it do if I did?”’

• ‘“But why would you do that? Why would you want to get rid of these things? I need your leg as much as I need the rest of you…”. He closed his eyes and sighed.’

The Human Face of Resistance 

R’s dependence on the narrator for protection shows how fragile resistance can be in an oppressive world. He’s in a vulnerable position, relying on someone else to keep him safe, which makes his fight against the system even more uncertain. Ogawa doesn’t present R as a typical hero, but as someone deeply human, full of fear, doubt and sacrifice. This makes R’s struggle more relatable, reminding the audience that standing up against something powerful often comes with personal vulnerability and tough decisions.

• ‘“I suppose that’s it, every last bit of me will disappear”.
  “No, that’s impossible. Aren’t we here together, right now, in spite of everything?” He put his hand on my shoulder and drew me to him.’

The Old Man

Guardian of the Past

The old man symbolises how fragile human history can be. As one of the few who still remembers a time before the disappearances, his memories link the present to a slowly vanishing past. Ogawa characterises his decline and death as a symbol of how erasing the past destroys intergenerational connections. As the society around him erases its history, the old man's fading memories highlight the emotional toll this causes, not only for him but also for those who will come after. Through his character, Ogawa illustrates that when we forget the past, we risk losing our sense of identity and continuity. 

• ‘“A ferry…ticket…?”.
  “That’s right. Look. It’s badly faded, but the destination and the fare are printed here. This ticket would have taken you far to the north, to a very big island. Everyone bought a ticket and boarded the ferry. The same ferry the old man worked on.”’

Endorsement of Loss and Destruction

The old man’s calm attitude and acceptance of the disappearances seem to be his way of coping with the broken world around him. Instead of resisting, he chooses to go along with what’s happening, which reflects how people might adapt just to survive in such a situation. However, Ogawa uses this passivity to show the danger of getting used to loss and how it can quietly tear apart society. By making the old man a subtle antagonist, she points out that even well-meaning people can unknowingly contribute to a society’s decline by choosing not to resist. This highlights the risk of doing nothing when faced with wrongs and how inaction can be just as harmful as actively supporting injustice.

• ‘“Would you like to go back to your old life?” I asked him, knowing that the question was pointless, that the boat would never come back. And I knew how he would answer.
  “No, not at all,” he said, shaking his head vigorously…
  “Why would I ever want to go back to the way it was before? Besides, the boat was worn out.”’

In The Memory Police, Ogawa’s nuanced characterisation allows readers to explore the complexities of human response under oppression. The narrator, R and the old man each highlight different ways people respond to a society that erases the past. Ogawa ultimately insists that while standing up to oppression is never easy, it’s crucial for preserving our humanity and ensuring that the past is not forgotten.

Are you an EAL student worrying about the listening component of the new study design?

Are you worried? If you are, fear not, I am here to help!

Here are some extremely useful tips that I have acquired from completing both Japanese and Chinese listening exams. They are very applicable to the EAL exam and will hopefully make you feel more confident about this new component!

1. As EAL students we are allowed to bring bilingual dictionaries into the exam, TAKE ADVANTAGE OF THAT! You will be amazed at how useful your dictionary can be.
2. Use your reading time efficiently! Take a close look at your listening tracks’ questions! Search your dictionary for tricky vocabularies that are embedded in the question. Make each second count!
3. Look out for the key question words! If you spot “when” and “why” in the question, then you know for sure that you need to listen out for location and time!
4. Pay attention to the tone.
5. Take note of any adjectives, phrases and words that express the character’s (in the listening track) thoughts, feelings and concerns.
6. There is a space in the exam paper for you to take notes, USE THAT SPACE! Write down all the key information you can possibility hear from the track! According to the examiner’s report those students who wrote notes in the space provided tend to score much more higher than those who don't.
7. Don't waste time wondering what the track just played! Listen carefully for the next sentence, missing out on one piece of information is better than two!

Misconception

Some of you out there might be thinking “Listening is easy! I just need to write down the correct answer, it's a piece of cake.” Unfortunately, this isn’t the case for EAL listening or any VCE Language listening SAC or exam. The VCAA examiners will look at the accuracy of your answer, grammar and spelling. They even look at how well you phrase your response!

If you are aiming for a perfect listening response you MUST take a look at my breakdown of the examiners’ marking criteria!

Marking Criteria

For the listening component of the exam/SAC the examiners (and your own teachers) will be marking your answers base on TWO main points

1. Your ability to understand and convey general and specific parts of the listening track
2. Your ability to convey information accurately and appropriately

• Appropriateness of vocabulary
• Accurate use of grammar, spelling and punctuation.

Are you feeling more confident for the VCE EAL Listening section with a couple of handy hints in your pocket? I hope you are! Give it a go, it is not as scary as you think!

Updated on 25/12/2020

Being one of the few texts that was added to the text list this year, Euripides’ play Women of Troy is definitely a daunting task for English and EAL students to tackle due to the lack of resources and essay prompts available. In fact, the only materials that can be found on the internet are those analysing the older translation of the play (titled The Trojan Women). That is why we are here to help you as much as we can by offering you a mini-guide for Women of Troy, in the hope that you can get a head start with this play.

Women of Troy is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

Contents

1. Summary
2. Historical Context
3. Literary Devices
4. Themes
5. Characters
6. LSG-Curated Essay Topics
7. A+ Essay Topic Breakdown
8. Extra Resources

1. Summary

Women of Troy is a tragedy which takes place in the immediate aftermath of the Trojan war, critiquing the atrocities committed by the Greeks to both people of Melos and Troy. By constructing a play in which women are able to dominate the stage and exude their genuine despair in response to their impending enslavement, Euripides shifts the perspectives from epic tales of Greek and Trojan male heroes to the conversely affected women who suffered at the hands of the heroes, while simultaneously providing both the contemporary and modern audience with a unique insight into the true cost of war. This is especially significant because the society was pervaded by patriarchal values, where women were subordinated to their male counterparts. Euripides’ proto-feminist works were not well received by his peers at the time of writing as women’s personal thoughts and pain were not commonly discussed in the Hellenic repertoire.

2. Historical Context

The Trojan war occurred as a result of the conflict between Greece and Troy and was said to last for over 10 years. According to a tale, during a festival on the Olympus, Athena, Aphrodite and Hera were fighting over a golden apple. They chose a random mortal, which was Paris who would then be the Prince of Troy, to decide who the most beautiful goddess of the three was. As a reward for picking her, Aphrodite promised Paris that he would be married to the most beautiful woman in the world, which was Helen – wife of Menelaus, the Spartan prince. Aphrodite had her son Eros (a cupid) enchant Helen and Paris so that they would fall endlessly in love with each other. Helen then escaped from Menelaus’ palace to be with Paris, starting the war between Greece and Troy. Menelaus was enraged and he convinced his brother Agamemnon to lead an expedition to retrieve Helen. The Greek army was commanded to attack the Trojans. The siege lasted for more than 10 years until the Greeks came up with a strategy to abduct Helen from the palace. The Greek soldiers build a giant wooden horse and hid in there to get in the citadel of Troy, attacking them in the middle of the night and winning the war. After the war, the Greek heroes slowly made their way home, however, the journey home was not easy. Odysseus took 10 years to make the arduous journey home to Ithaca because Poseidon agreed to punish the Greeks for the atrocities committed before and after their victory.

3. Themes

War

Love and Lust

Euripides’ works often warn the audience of the detrimental effects brought on by excessive passion, asserting that it is best to moderate emotions and exhibit sophrosyne (the power of self-control over one’s emotions). He often criticises the goddess of love, Aphrodite, for enchanting mortals and leading them into a life governed by love and lust. In this play, he purports that it is inherently Aphrodite’s fault that the Trojans are fighting against the Greeks, as it is Aphrodite who makes Paris and Helen endlessly fall in love with each other.

Potential Textual Evidence:

In Women of Troy, Euripides presents a particularly acerbic critique on Menelaus’ 'uncontrollable lust' in 'sen[ding] a hunting party to track down Helen' as he juxtaposes the cost of the Trojan war being and the prize that they receive.

• 'tens of thousands dead'  
• 'giving up the pleasure of his family and children'
• 'these Greeks [beginning] to die'

→ All that in exchange for one woman - Helen

His chastisement is further bolstered by Cassandra’s rhetorical question asking 'they kept on dying, for what reason'. This manoeuvres the audience into acknowledging the pointlessness of the Trojan war as it is not worth risking so many lives over Helen or any minor military conflict. In doing so, Euripides once again lambastes the actions of those vindictive and bloodthirsty Greeks.

Cost of War

The play primarily focuses on the loss and pain of the Trojan civilians that survived the war, are sieged in the city after the war and are eventually either killed or enslaved after the fall of Troy. While the Trojan war is the setting of many famous classical works being examined by various different angles, not many focus on the consequences suffered by women. This enables Euripides to raise the question of whether or not such victory is worth fighting for while simultaneously inviting the audience to emulate the playwright’s disapprobation of such a violent and brutal resolution of conflict.

You can also use the evidence from the above to justify your arguments on the cost of war. They all aim to magnify the extent to which the Trojan people, as well as the Greeks, have to suffer as result of this pointless war.

Potential Textual Evidence:

We can also discuss how wars affect beliefs and their people’s faith. In the Hellenic society, gods have always been a significant part of their life as it is believed that mortals’ lives are always under the influence of divine intervention. This is evidenced through the ways in which Hellenic people build temples and make sacrifices to the gods, thanking the gods for allowing them to live prosperous lives and begging for their forgiveness whenever they wrong others. This is why it is significant when Hecuba referred to the gods as 'betrayers' in her lamentation, implying that there is a change in attitude in time of tragedy. Events such as this make people question their fate and belief, galvanising them to wonder 'what good [gods] were to [them].

Integrity and Sense of Duty

Some characters in Women of Troy are also fundamentally driven by their sense of duty and integrity, and act according to their moral code regardless of what the circumstances may be. Hecuba, for instance, sympathises with the Chorus of Troy and acts as a leader even when she loses her title and her home. She is held responsible for her actions but is still governed by her honesty and integrity as Helen makes her plea. Talthybius is also governed by both his sense of duty and integrity. Despite his understanding of Hecuba’s circumstances, he still follows his order and ensures that the Trojan women are allocated to their Greek households. However, he does not disregard her sense of morality and treats Hecuba with understanding and sensitivity.

Helen, on the other hand, does not demonstrate the same degree of moral uprightness. In time of tragedy, she chooses to lie and shift the blame to others to escape her execution. She prioritises her own benefits over everyone else’s and allows thousands of others to suffer from the impacts of her treachery in eloping with Paris.

God/Fate

The prologue of the play opens with a conversation between Poseidon and Athena, foreshadowing their divine retribution against the Greeks. Witnessing the immediate aftermath of the Trojan war, they curse the war which they ironically themselves initiated, thus condemning the horrific injustice of the conflict and the actions of its vengeful and blood thirsty so-called heroes. This is evidenced through the ways in which they punished Odysseus by creating obstacles on his journey home.

However, it can also be argued that the gods in Women of Troy themselves act as a symbol of injustice in a way. From the feminist view, the fall of Troy and the enslavement of Trojan women demonstrate the gods’ lack of care as they disregard the monstrosities that occur to women after the Greeks’ victory. The divine intervention which is promised in the beginning casts the following injustices cursed upon the women of Troy in a different light as it can be argued that the gods caused the war. While their retribution against the Greeks can be seen as a means to punish the heroes, it is evident that that they are more concerned about the sacrilege committed and the disrespect they receive after the Trojan war than the injustices suffered by women. This thereby humanises the gods and fortifies the notion that they also have personal flaws and are governed by their ego and hubris.

The idea that there are forces beyond human control is enhanced, and Poseidon and Athena’s pride proves that humans are just innocent bystanders at the mercy of the gods. It can be argued that the chain of unfortunate events are unpredictable as they are determined by gods, whose emotions and prejudices still control the way they act. On the other hand, the characters in the play do at times make choices that would lead to their downfall and tragic consequences. For instance, it is Menelaus who decided to go after the Trojans just because of one woman and he was not enchanted or under any influence of divine intervention.

Gender Roles

Euripides centres his play on Trojan women, enabling the discussion on the cause and effect of war. Given that females' points of view were not commonly expressed in plays or any forms of art works, Euripides’ decision to have his play focus on women allows the Athenian audience, comprised of mainly male Athenians, to observe a part of the military conflict that was not seen before.

The protagonist Hecuba, for example, is portrayed as the archetypal mother. While this image is presented during the aftermath of the Trojan war, Euripides also uses Hecuba as a representative of contemporary Hellenic women as this archetype is universal for all circumstances. It is evident that Euripides’ play mainly focuses on Hecuba’s grief, with her lamentation dominating the prologue. This implies that the protagonist, in this instance, also acts as a diatribe against the patriarchal society which allows women to suffer greatly as a result of war and military conflict. However, this play differs from other plays written by Euripides in that he also explores a woman’s burden and responsibility as a leader, allowing the audience to understand the difficulties of being a woman of power in time of crisis.

4. Characters

Hecuba

Mother of Troy

Potential Textual Evidence:

• In employing the simile comparing herself to 'a mother bird at her plundered nest', Hecuba reminds the audience of her endless love for the city of Troy, implying that the devastation of her own home also further deepens her pain. In this scene, Hecuba is portrayed as a female leader who rules with her passion and love.  
• The image her (Hecuba) as an empathetic Queen is also exemplified through the ways in which she 'weep[s] for [her] burning home'. As the term 'home' invokes connotations of warmth and affection, Hecuba’s endearment for the city she governs is established, accentuating the portrayal of Hecuba as a leader with a passion for her duties.
• This in turn propels the audience to be more inclined to feel commiseration for her when she is held responsible for her city’s destruction. As the representative of Troy’s leadership that enables such brutality to occur leading to the wars, Hecuba bears the guilt and responsibility for '[giving] birth to all the trouble by giving birth to Paris' and consequently, for the cataclysmic consequences that ramified from Paris’ involvement with Helen (although she is simply an innocent bystander) → Social accountability for war

Mother of Her Children

Potential Textual Evidence:

• From the outset of the play, the former queen of Troy is portrayed as a miserable mother suffering from the loss of her own children and 'howl[ing] for her children dead' (echoed by the Chorus, referred to as 'howl of agony'). By employing animalistic language in describing Hecuba’s act of mourning over Hector’s death, Euripides intensifies the magnitude of her emotional turmoil as it is likened to a loud and doleful cry usually uttered by animals → It is almost not humanly possible to endure so much pain.
• This notion is bolstered by the image of Hecuba drowning in 'her threnody of tears' as it engages the pathos of the audience, establishing her as a victim of war and emphasising the poignant story that is to be unveiled.
• The simile comparing herself to a woman 'dragged as a slave' in her lamentation further fortifies Hecuba’s portrayal as a victim of a play. Here, the juxtaposition between her former title 'by birth [as] Troy’s...Queen' and her current state magnifies the drastic change in life and the loss she suffered, compelling the audience to better sympathise with Hecuba. → Powers can be ephemeral in times of crisis.

Talthybius

Talthybius is sympathetic towards women, establishing himself as a complicated figure with a strong sense of integrity. This is epitomised through the ways in which he employs euphemistic language when announcing the dreadful news to Hecuba. He tries his best to be sensitive and mitigate the impacts of Hecuba’s daughter death to her, announcing that Polyxena 'is to serve Achilles at his tomb' and that 'her fate is settled', 'all her troubles are over'. He was being sensitive and subtle instead of abruptly delivering the news. While he represents an enemy state, he shows that men can also be compassionate, contradicting the Phallocentric belief that men should only be governed by cool logic.

Chorus of Trojan Women

It can be argued that Hecuba acts as the paradigm of the Trojan women as her pain (i.e. the deaths of her children, slavery, the devastation of her city), in a way, represents the suffering of the majority of Hellenic women in times of war, which enhances Euripides’ condemnation of a society where military conflicts can easily be facilitated. The Chorus of the play often echoes her deepest pain, establishing a sense of camaraderie between female characters of the play.

In this play, the Chorus acts as the voice of the 'wretched women of Troy', representing the views of the unspoken who are objectified and mistreated by their male counterparts. After Troy lost the war, women were seen as conquests and were traded as slaves, exposing the unfair ethos of a society that was seen as the cradle of civilisation. By allowing the Trojan women to express their indignation and enmity as a response to their impending slavery, Euripides is able to present a critique on the ways in which women were oppressed in Ancient Greece.

5. Literary Devices

• Simile (e.g. dragged as a slave)
• Euphemism (e.g. serve Achilles at his tomb – euphemism for death)
• Symbolism (e.g. Hector’s shield or Troy’s citadel)
• Animal imagery (e.g. howl of agony)
• Rhetorical question (e.g. for what reason)

Why are these important? Watch how we integrated literary devices as pieces of evidence in this essay topic breakdown:

[Modified Video Transcription]

TIP: See section '7. A+ Essay Topic Breakdown' (below) for an explanation of our ABC approach so that you understand how we've actually tackled this essay prompt.

Staged in a patriarchal society, Women of Troy was set during the immediate aftermath of the Trojan war – a war between the Greeks and the Trojans. Hecuba is the former queen of Troy, who suffered so much loss as the mother of her children as well as the mother of Troy. She lost her son Hector and her husband in the Trojan war, her daughter Polyxena also died and Cassandra was raped. After the Greeks won, women were allocated to Greek households and forced into slavery, including the queen of Troy.  She was also the mother of Paris, the prince of Troy. It was purported that Paris and Helen were responsible for initiating the war as Helen was governed by her lust for Paris and left Menelaus, the Spartan prince, for this young prince of Troy. Consequently, Menelaus was enraged by this elopement and declared that he wanted Helen dead as a punishment for her disloyalty. Helen defended herself and lied that it was against her will, crying that she was kidnapped and blamed Hecuba for the fall of Troy and for the conflict between the two sides. However, Menelaus did not believe what Helen had to say and decided to bring her back to her home on a separate ship.

The play ended with the Greek ships leaving Troy, which was then on fire. The Trojan were singing a sad song together as they left to prepare for their new lives as slaves living in Greek households.

The play’s main focus is on the suffering of women, as exemplified by the way Euripides chose to portray Hecuba’s loss and Cassandra’s helplessness.

So, our essay prompt for today is

'How does Euripides use the structure of the play to explore the role of women and their suffering in time of war?'

This is indeed one of the more challenging prompts that VCAA wouldn’t probably give, the reason being that it is a language/structure-based prompt. It requires you to have a much more profound knowledge of the text, and it is not always easy to spot language features, especially in a poetic sounding play like Women of Troy. There is just so much going on in the text! While it is not super likely that you will get this prompt for the exam, I have seen a lot of schools give language/structure-based prompts to students for SACs as it gives them an opportunity to challenge themselves and look for textual evidence that will distinguish them from their peers. These types of evidence are definitely worth looking for because they can also be used as evidence to back up your arguments for theme-based or character-based prompts (learn more about the different types of prompts in How To Write A Killer Text Response).

Now let’s get started.

Step 1: Analyse

The first thing I always do is to look for keywords. The key words in this prompt are 'structure, 'role of women' and 'suffering'.

With the structure of the play, we can potentially talk about:

• Character-related evidence (e.g. strong female character base)
• Language-related features (metalanguage/literacy devices)
• Plot-related features (order of events) – irony, foreshadowing

Step 2: Brainstorm

In a male-dominated, patriarchal society, women are oftentimes oppressed and seen as inferior. Their roles in the society were limited, they were only seen as domestic housewives and mothers. It is important to look for evidence that either supports or contradicts this statement. Ask yourself:

• Is Euripides trying to support the statement and agree that women are simply creatures of emotions who should only stick with domestic duties?
• Or is he trying to criticise this belief by showing that women are so much more than just those being governed by their emotions?

Since this play primarily focuses on the cost of war and how women, as innocent bystanders, have to suffer as a result of the Trojan war, it should not be difficult finding evidence related to women’s suffering. It might include:

• Hecuba’s loss (she lost her home and children)
• Hecuba’s pain (being blamed for Troy’s ruin)
• Cassandra’s helplessness despite knowing her fate, surrendering and accepting her future
• Andromache’s 'bitter' fate having to give up her child
• The Chorus voicing their opinion – slavery

Once a prompt is carefully broken down, it is no longer that scary because all we have to do now is organise our thoughts and write our topic sentences.

Step 3: Create a Plan

P1: Euripides constructs a strong female character base to contradict the prevailing views of the period that women are inferior to their male counterparts.

It is significant that Euripides chose to have a strong female protagonist, as the character herself acts as a diatribe against the patriarchal society, contradicting any engrained beliefs that pervaded the society at the time. An example of evidence that can support this statement is the way in which Hecuba dominates the stage while giving her opening lamentation. The lengthy nature of the monologue itself enables Euripides to present his proto-feminist ideas and go against the Hellenic gendered prejudice.

We can also talk about Hecuba’s leadership and her interaction with the Chorus of Trojan women. She refers to them as 'my children' and employs the simile 'a mother at her plundered nest'. The way the Greek playwright constructs the relationship between characters is worth mentioning as Hecuba in this play is portrayed as a compassionate and empathetic leader, showing that women are also capable of leading others in a way that engenders a sense of camaraderie between them.

Another good thinking point is to talk about how Helen acts as a paradigm of a group of women who had to turn to deception and go against their integrity to survive in time of tragedy.

P2: Euripides’ selective use of language and literacy devices in portraying women’s pain and suffering further enables him to portray the ways in which women, as innocent bystanders, are oppressed in time of war.

An example of a metalanguage used in this play is the animal imagery the Chorus used to depict Hecuba’s pain. By referring to her pain as a 'howl of agony', they intensify the magnitude of Hecuba’s pain as the term 'howl' is usually used to describe a loud cry usually uttered by animals like wolves. This implies that Hecuba, who acts as representative of Hellenic women, has to suffer from an emotional turmoil that is far beyond bearable, which in turn further fortifies the audience’s sympathy for her, as well as the Trojan women.

Another piece of evidence that I would talk about is the simile 'dragged as a slave'. It was used to describe Hecuba, the former queen of Troy. By likening someone who used to be at a position of power to 'a slave', Euripides underscores the drastic change in circumstances that occurred as a result of the Trojan war, magnifying the tremendous amount of loss Hecuba experienced. Furthermore, the image of the protagonist’s devastated physical state enhances the dramatist’s condemnation of war as it allows him to elucidate the detrimental impacts such violence and dreadfulness impose on innocent bystanders.

There is, of course, plenty of other evidence out there such as the way in which Cassandra is portrayed as a 'poor mad child', her helplessness in surrendering to her 'wretched' fate with Agamemnon who wanted her for himself. We can also talk about the inclusive language positing, 'our misery', 'our home', used by the Chorus in echoing Hecuba’s pain, etc.

The use of symbolism can also be discussed. For instance, the citadel in the city of Troy in the epilogue acts as a metonym for Hecuba’s resistance before entering slavery. The image of it crumbling exemplifies women’s helplessness and enhances the notion that they are still in positions of explicit subjugation.

P3: While Euripides primarily focuses on portraying women’s pain and suffering, he does not completely vilify men or victimise women, maintaining an unbiased view so as to underscore the importance of integrity through his characterisation of both male and female character.

The last body paragraph of our essays is often the one used to challenge the prompt, showing the assessors our wealth of ideas and depth of knowledge. Basically, what we are saying is 'while our playwright is obviously pro-women, he definitely does not condone everything women do and criticise everything men do'.  In this way, we have the opportunity to explore the ways characters are constructed and the ways they are used in the play to convey its meaning.

If I were to write an essay on this, I would talk about Talthybius and Helen, mainly because they are both complex characters that the audience cannot fully love or hate.

Talthybius is surprisingly sympathetic towards women, establishing himself as a complicated figure. This is epitomised by the ways in which he employs euphemistic language when announcing the dreadful news to Hecuba. He tries his best to be sensitive and mitigate the impacts of Hecuba’s daughter's death to her, announcing that Polyxena 'is to serve Achilles at his tomb', that 'her fate is settled' and 'all her troubles are over'. He was being sensitive and subtle instead of abruptly delivering the news. While he represents an enemy state, he shows that men can also be compassionate, contradicting the Phallocentric belief that men should only be governed by cool logic.

Similar to Talthybius, Helen is also a complicated figure as she is both a victim of fate and a selfish character. It is possible for the audience to sympathise with her as she is merely a victim of fortune in that she was bewitched by Aphrodite and governed by her love for Paris, the prince of Troy. However, the ways in which she shifts the blame to Hecuba and makes her pleas preclude the audience from completely sympathising with her they, in a way, render her as a self-absorbed and repugnant character. This notion is further fortified by the fact that she cared so little for the 'tens of thousands' lives taken on her behalf as the phrase quantifies and magnifies the cataclysmic consequences of her lust for Paris.

6. LSG-Curated Women of Troy Essay Topics

1. Euripides’ play Women of Troy mainly focuses on the true cost of war. To what extent do you agree with the statement?
2. Women of Troy demonstrates that there is no real winner in war. Discuss.
3. In the Trojan wars, the Trojans suffered great losses while the Greeks did not suffer. Do you agree?
4. How does Euripides use language to portray the loss and suffering of Hellenic women in Women of Troy?
5. Characters in Women of Troy are all driven and motivated by their sense of duty and obligation. To what extent do you agree with the statement?
6. Hecuba’s greatest pain stems from the deaths of her children. Discuss the statement.
7. While Helen’s selfishness should be condemned, the audience can still condone her actions due to the circumstances she is in. To what extent do you agree with the statement?
8. Women of Troy is a tragedy, rather than a war-play. Do you agree?
9. Euripides argues that fate and fortunes are not preordained, and tragedies do not incriminate. To what extent do you agree with the statement?
10. It is impossible to sympathise with Helen because she is the most mischievous character of the play. Do you agree?
11. Women of Troy explores the ways in which a character’s true self might emerge in times of tragedy. Discuss.
12. In Women of Troy, The Chorus’ only role is to act as the representative of Hellenic women. Do you agree?
13. In the end, the gods are not responsible for the tragedies caused by the Trojan war as it happened as a result of poor choices. Do you agree?
14. Hecuba is the victim of fate. Discuss.
15. Love is a dangerous passion that can lead to tragic consequences. Does Women of Troy support this statement?
16. Hecuba is a tragic hero. Discuss.
17. How is the structure of Women of Troy used to convey its meaning?
18. It is possible for the audience to sympathise with Helen because of her love for Paris. Do you agree?
19. There is no villain in Women of Troy because everyone in the play suffers. Do you agree with the statement?
20. Discuss the role of dishonesty in Euripides’ Women of Troy.

If you'd like to see A+ essays based off some of the essay topics above (written by Mark Yin - our LSG content guru and 50 English study score achiever), complete with annotations on HOW and WHY the essays achieved A+ so that you can emulate this same success, then you'll definitely want to check out our A Killer Text Guide: Women of Troy ebook. In it, we also cover themes, characters, views and values, metalanguage and have 5 sample A+ essays completely annotated so that you can smash your next SAC or exam!

7. A+ Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy, a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response.

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: Analyse

Step 2: Brainstorm

Step 3: Create a Plan

Quote-Based Prompt:

'Who can forget these sufferings? Time will bring no relief.' There is no villain in Women of Troy because everyone in the play suffers. Do you agree with the statement?

The following comes essay topic breakdown comes from our A Killer Text Guide: Women of Troy ebook:

Step 1: Analyse

The quote mentions long-lasting sufferings, and the prompt seems to ask who suffers, and who is responsible. If you’ve been reading this guide in order, a lot of similar ideas from the last four essays might jump out here - I think that’s okay, because ideally you do get to a point where you can ‘recycle’ some of your quotes and ideas between essays (and the examiner won’t have to read all your practice essays anyway!).

While I’ll be doing a little bit of recycling here, I want the main take-away point from this essay to be around framing. Even if you’re using similar ideas that you’ve already seen, the trick is to explain and frame your analysis in a way that answers every prompt specifically. This is best done through how you thread your arguments together, and how you make those links. We’ll get into this as we plan.

Step 2: Brainstorm

For now, let’s recap these ideas of suffering and responsibility. Hecuba and the Trojan women suffer, and they argue Helen is responsible - but Helen also suffers, and she argues that the gods are responsible. The gods, as we know, are insulated from suffering because of their divine and superhuman status. So, are they the villains?

Step 3: Create a Plan

This is a similar progression of ideas that we have seen before, but I want to ground them in this cycle of suffering-responsibility.

P1: The eponymous women of Troy certainly suffer, and in many of their eyes, Helen is a villain.

P2: However, Helen does not see herself that way - and she is not incorrect. She too seems to suffer, and she sees the gods as the main villains who are responsible.

P3: Euripides may see the gods as careless and negligent beings, but he doesn’t necessarily depict them as cruel; rather, the excessively passionate war itself is depicted as the true enemy, and villains are those who revel in its cruelty.

As you might notice, parts of this plan are recognisable: we’ve started a few of these essays with a first paragraph about the Trojan women’s suffering, developed that in paragraph two by contrasting with Helen, and ending our analysis with the gods. But when reusing some of those ideas, it’s important to make sure they answer the specific question by modifying and adding new ideas as needed - this way, you don’t rewrite essays for new prompts and risk losing relevance, but you do reuse ideas and tailor them to new prompts every time.

The contention for this one will be: the Trojan War undoubtedly has its winners and losers, and few of these characters agree on who the responsible villains are, with some blaming Helen (P1) while she herself blames the gods (P2). However, the gods only form a part of the picture - rather, Euripides depicts war itself as the villain, lambasting those who take pride in inflicting cruelty in the midst of war (P3).

If you'd like to see an A+ essay on the essay topic above check out our A Killer Text Guide: Women of Troy ebook.

8. Extra Resources

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response (ebook)

How To Embed Quotes in Your Essay Like a Boss

How To Turn Text Response Essays From Average to A+

5 Tips for a Mic-Drop Worthy Essay Conclusion

‍With contributions from Mark Yin - 50 study score achiever, and author of our A Killer Text Guide: Women of Troy ebook.