the crucible full essay

The Crucible

By arthur miller, the crucible study guide.

The Crucible is a fictional retelling of events in American history surrounding the Salem Witch Trials of the seventeenth century. Yet, is as much a product of the time in which Arthur Miller wrote it - the early 1950s - as it is description of Puritan society. The Salem witch trials took place from June through September of 1692, during which time nineteen men and women were hanged at Gallows Hill near Salem, while another man, Giles Corey , was stoned to death for refusing to submit to a trial on witchcraft charges. Hundreds of other persons faced accusations of witchcraft and dozens more languished in jail without trials. As the play describes, the witchcraft trials began because of the illness of Betty Parris , the daughter of the Salem minister, Reverend Samuel Parris , a former merchant in Barbados. Before Betty Parris fell ill, Cotton Mather had published "Memorable Providences," describing the suspected witchcraft of an Irish washerwoman in Boston, and Betty Parris' hysteria mirrored those of the suspected Irish witch. Other girls, including Ruth Putnam and Mercy Lewis also exhibited similar symptoms. However, actual events diverge from the narrative of the play. The Parris' slave, Tituba (who was likely a South American Arawak Indian and not African), immediately came under suspicion. As a form of counter-magic, Tituba was ordered to bake a rye cake with the urine of the afflicted victim and to feed the cake to a dog. This added to suspicions of witchcraft by Tituba, and led to the slave becoming one of the first women accused, along with Sarah Good and Sarah Osburn. Although most of the women first accused of witchcraft were considered disreputable, several reputable members of the community were soon executed, including Rebecca Nurse (featured in the play), and in the most controversial execution, George Burroughs, the former minister in Salem. One of the most flamboyant of the women executed was Bridget Bishop, a woman who had been married several times and was known as the mistress of two Salem taverns and had a reputation for dressing more 'artistically' than the women of the village.

Sir William Phips, the Governor of Massachusetts, created a new court to oversee the witchcraft cases. The Chief Justice of this court was William Stoughton, an avid witch-hunter who permitted many questionable deviations from normal courtroom procedure including the admission of spectral evidence (testimony by afflicted persons that they had been visited by a suspect's specter) and private conversations between accusers and judges.

By the early autumn of 1692, the cries of witchcraft began to ebb and doubts began to develop concerning the validity of the charges. Soon, the educated elite of the colony began efforts to end the witch-hunting hysteria that had enveloped Salem. Increase Mather, the father of Cotton, published "Cases of Conscience," which argued that it "were better that ten suspected witches should escape than one innocent person should be condemned." Mather urged the court to exclude spectral evidence. A period of atonement soon occurred in which Samuel Sewall, one of the judges, issued a public confession of guilt and apology, and Reverend Parris admitted errors in judgment. He did, however, attempt to shift the blame to others. (Governor Phips, for instance, shifted the blame to Stoughton, who nevertheless became the next Governor of Massachusetts.)

However, Miller wrote The Crucible not simply as a straight historical play detailing the Salem witch trials. Indeed, a good deal of the information in the play misrepresents the literal events of the trial: John Proctor was not a farmer, not a tavern owner, and during the time of the trials he was sixty years old and Abigail Williams only eleven. Rather, the play has as much significance as a product of the early Cold War era during which Miller wrote the play. Indeed, the play is a parable for the McCarthy era, in which similar 'witch hunts' occurred targeting citizens as communists rather than disciples of Satan.

Wisconsin Senator Joseph McCarthy was an undistinguished member of the Senate until February 1950, when he made the public charge that 205 Communists had infiltrated the State department. Upon subsequent testimony before the Senate Committee on Foreign Relations, McCarthy proved unable to produce the name of any "card-carrying" communists, but he gained increasing popular support for his campaign of accusations. Although he was later denounced, he promoted unfounded accusations and suspicions of communism in many quarters, and is best known for his investigation of communists in the United States Army.

The House Committee on Un-American Activities (generally known as HUAC) also investigated communism within Hollywood, calling a number of playwrights, directors and actors known for left-wing views to testify. Although some of these, including film director Elia Kazan, testified for the committee to avoid prison sentences, the Hollywood Ten, a group of entertainers, refused to testify and were convicted of contempt and sentenced to up to one year in prison. Over three hundred other entertainers were placed on a blacklist for possible communist views and were thus forbidden to work for major Hollywood studios (many of these were writers who worked under pseudonyms at the time, including Dalton Trumbo and Michael Wilson). Arthur Miller was one of these blacklisted. The blacklist prevented these men from receiving screen credit during this time, until actor Kirk Douglas pushed for Trumbo to receive screen credit for his adaptation of Spartacus for Stanley Kubrick in 1960.

The Crucible Questions and Answers

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

The Crucible, Act 2

1) Proctor believe the girls to be liars and tells Hale how Abigail said Parris discovered the girls sporting in the woods. Hale claims that it is nonsense, as so many have confessed, but Proctor says that anyone would confess if they will be...

As the act opens, who is being interrogated, and on what charge?

In the beginning of Act III, Martha Corey is being interrogated on charges of witchcraft.

why does reverend parris send for reverend hale?

Because Reverend Hale is an intelligent man who has studied witchcraft extensively.

Study Guide for The Crucible

The Crucible is a play by Arthur Miller. The Crucible study guide contains a biography of Arthur Miller, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Crucible
• The Crucible Summary
• Character List

Essays for The Crucible

The Crucible essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Crucible by Arthur Miller.

• Conformity, Imbalance of Power, and Social Injustice
• Sins and Ambitions
• The Stream of Conscience in Arthur Miller's The Crucible
• The Crucible as an Allegory
• Contemporary Events Leading to The Crucible

Lesson Plan for The Crucible

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

Wikipedia Entries for The Crucible

• Introduction
• Characters (in order of appearance)
• Notable casts
• Originality

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Themes and Analysis

The crucible, by arthur miller.

Through 'The Crucible,' Miller explores several important themes, such as the power of fear and superstition and the dangers of religious extremism.

Article written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

Arthur Miller’s ‘ The Crucible ‘ is one of the most powerful and poignant plays ever written . Set in the Puritan town of Salem during the 1690s, the play focuses on a series of trials that ultimately reveal the dangers of fear and ignorance. The play is filled with important symbols and themes that drive the narrative, many of which are highly relatable, even today.

The Corruption of Power

In the story of ‘ The Crucible ,’ power corrupts absolutely. In the village of Salem, the court proceedings are directed by those in authority, such as Reverend Parris and Deputy Governor Danforth. They misuse their power to further their own personal agendas, leading to false accusations and wrongful executions. The corruption of power serves as a warning against allowing authority figures to control everyday life without consequence.

The Dangers of Hysteria

‘ The Crucible ‘ demonstrates how quickly hysteria can spread and affect a community. With the accusations of witchcraft, fear and paranoia spread like wildfire among the citizens of Salem. This leads to even more accusations and further isolation of those thought to be guilty. The play warns readers against succumbing to hysteria and shows the real danger it can pose when left unchecked; this relates directly to McCarthyism in the 1950s in the United States.

Ignorance and Intolerance

Many of the characters in ‘ The Crucible ‘ are ignorant and intolerant of others, especially those they view as outsiders. This is demonstrated through the character of Reverend Parris, who is deeply suspicious of anyone who is different or opposes him. Similarly, intolerance is shown when those accused of witchcraft are assumed to be guilty despite a lack of evidence. The play emphasizes the need for tolerance and understanding in order to prevent further strife.

Key Moments

• Reverend Parris discovers his daughter and niece dancing in the woods with Tituba, his slave, and other girls from the village. Betty falls into a coma.
• Parris questions the girls about witchcraft.
• It’s revealed that Abigail had an affair with her former employer John Proctor. She still wants to be with him.
• Betty wakes up screaming.
• Tituba confesses to witchcraft. Abigail joins her.
• Abigail and the other girls begin to accuse various citizens of Salem of witchcraft.
• Mary Warren, now a court official, testifies against John Proctor in court. 
• Elizabeth urges John to go to town and convince them that Abigail is not telling the truth. She is suspicious of their relationship.
• Mary gives Elizabeth a poppet.
• John is questioned by Reverend Hale.
• The town marshal arrests Elizabeth and finds the poppet, which has a needle in it.
• Mary admits she made the poppet in court, and Elizabeth claims she’s pregnant.
• The girls start screaming in court, saying that Mary is sending her spirit to them.
• Elizabeth convinces John to admit to witchcraft.
• John Proctor signs a confession but then rips it up before it can be used as evidence against him. 
• John Proctor is put to death after refusing to lie about being a witch.

Tone and Style

The tone of Arthur Miller’s ‘ The Crucible ‘ is serious and intense due to the subject matter of the Salem Witch Trials. Miller captures a sense of urgency and fear that pervaded the small town of Salem at the time, which amplifies the drama and tension between the characters. This serves as a reminder of the underlying paranoia that can quickly infect a community.

The writing style of Miller’s play is direct and succinct. Miller deliberately focuses on dialogue and action, allowing for a natural flow to the story as it unfolds. He also uses strong language to draw attention to the ways in which fear and paranoia can lead to injustice. Through this approach, Miller effectively conveys the consequences of these events. In part, this is due to the format of the story. It’s a drama, meaning that it is almost entirely composed of only dialogue.

Witchcraft is the most obvious symbol in ‘ The Crucible ‘, representing the fear and paranoia of the characters during the Salem Witch Trials. Miller uses it to reflect the rampant hysteria of the time and how quickly false accusations spread throughout Salem. Witchcraft can also be seen as a metaphor for the powerlessness of individuals in the face of a repressive and superstitious society. 

Proctor’s House

John Proctor’s house serves as a symbol of both the struggles and the strength of his marriage to Elizabeth. It is not only a physical representation of their relationship but also an example of their commitment to one another. As their relationship unravels, so does their home, until it is eventually burned down by the townspeople. This symbolizes the breakdown of their marriage and the ultimate downfall of their relationship. 

The forest is a symbol of freedom in ‘ The Crucible .’ It represents the escape from repression, control, and oppression in Salem. By venturing out into the woods, characters like Tituba, Abigail, and Parris are able to reject societal norms and restrictions, allowing them to find their own paths. It is also a sign of hope for those who are struggling against the unjust and oppressive nature of Salem society.

What is the most important theme in The Crucible by Arthur Miller?

The most important theme in “The Crucible” is the power of public opinion and hysteria. It demonstrates how an environment of fear and superstition can be manipulated to create a situation of paranoia and distrust. 

Why is The Crucible by Arthur Miller important?

‘ The Crucible ‘ is important because it explores themes of morality, justice, and personal responsibility. It also examines the effects of unchecked hysteria and paranoia on individuals and society as a whole.

Why did Arthur Miller write The Crucible ?

Arthur Miller wrote ‘ The Crucible ‘ as a metaphor for McCarthyism, which was a period of intense anti-communist sentiment in the United States during the 1950s. He wanted to illustrate how similar events could happen again if unchecked fear and paranoia were allowed to spread.

Who are some of the main characters in The Crucible ?

Some of the main characters in The Crucible include John Proctor, Abigail Williams, Elizabeth Proctor, Reverend Parris, Reverend Hale, and Judge Danforth.

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Arthur Miller's 'The Crucible': Plot Summary

The Salem Witch Trials Come to Life on Stage

• M.A., Literature, California State University - Northridge
• B.A., Creative Writing, California State University - Northridge

Written in the early 1950s, Arthur Miller’s play "The Crucible" takes place in Salem, Massachusetts, during the 1692  Salem witch trials . This was a time when paranoia, hysteria, and deceit gripped the Puritan towns of New England. Miller captured the events in a riveting story that is now considered a modern classic in the theater. He wrote it during the "Red Scare" of the 1950s and used the Salem witch trials as a metaphor for the "witch hunts" of communists in America. 

"The Crucible" has been adapted for the screen twice. The first film was in 1957, directed by Raymond Rouleau and the second was in 1996, starring Winona Ryder and Daniel Day-Lewis.

As we look at a summary of each of the four acts in "The Crucible," notice how Miller adds plot twists with a complex array of characters. It is historical fiction, based on documentation of the famous trials and is a compelling production for any actor or theatergoer. 

"The Crucible": Act One

The initial scenes take place in the home of Reverend Parris , the town’s spiritual leader. His ten-year-old daughter, Betty, lies in bed, unresponsive. She and the other local girls spent the previous evening performing a ritual while dancing in the wilderness. Abigail , Parris’ seventeen-year-old niece, is the "wicked" leader of the girls.

Mr. and Mrs. Putnam, loyal followers of Parris, are very concerned for their own sickly daughter. The Putnams are the first to openly suggest that witchcraft is plaguing the town. They insist that Parris root out the witches within the community. Not surprisingly, they suspect anyone who despises Reverend Parris, or any member who fails to attend church on a regular basis.

Halfway through Act One, the play's tragic hero, John Proctor , enters the Parris household to check on the still comatose Betty. He seems uncomfortable to be alone with Abigail.

Through dialogue, we learn that young Abigail used to work in the Proctors' home, and the seemingly humble farmer Proctor had an affair with her seven months ago. When John Proctor's wife found out, she sent Abigail away from their home. Since then, Abigail has been scheming to remove Elizabeth Proctor so that she can claim John to herself.

Reverend Hale , a self-proclaimed specialist in the art of detecting witches, enters the Parris household. John Proctor is quite skeptical of Hale’s purpose and soon leaves for home.

Hale confronts Tituba, Reverend Parris' enslaved woman from Barbados, pressuring her to admit her association with the Devil. Tituba believes that the only way to avoid being executed is to lie, so she begins to invent stories about being in league with the Devil.

Abigail then sees her chance to stir up an enormous amount of mayhem. She behaves as though she is bewitched. When the curtain draws on Act One, the audience realizes that every person mentioned by the girls is in severe danger.

"The Crucible": Act Two

Set in Proctor’s home, the act begins by showing the daily life of John and Elizabeth. The protagonist has returned from seeding his farmland. Here, their dialogue reveals that the couple is still coping with tension and frustration relative to John's affair with Abigail. Elizabeth cannot yet trust her husband. Likewise, John has not yet forgiven himself.

Their marital problems shift, however, when Reverend Hale appears at their door. We learn that many women, including the saintly Rebecca Nurse, have been arrested on the charge of witchcraft. Hale is suspicious of the Proctor family because they don’t go to church every Sunday.

Moments later, officials from Salem arrive. Much to Hale’s surprise, they arrest Elizabeth Proctor. Abigail has accused her of witchcraft and attempted murder via black magic and voodoo dolls. John Proctor promises to free her, but he is enraged by the injustice of the situation.

"The Crucible": Act Three

John Proctor convinces one of the "spellbound" girls, his servant Mary Warren, to admit that they were only pretending during all of their demonic fits. The court is overseen by Judge Hawthorne and Judge Danforth, two very serious men who self-righteously believe that they can never be fooled.

John Proctor brings forth Mary Warren who very timidly explains that she and the girls have never seen any spirits or devils. Judge Danforth does not want to believe this.

Abigail and the other girls enter the courtroom. They defy the truth that Mary Warren tries to reveal. This charade angers John Proctor and, in a violent outburst, he calls Abigail a harlot. He reveals their affair. Abigail vehemently denies it. John swears that his wife can confirm the affair. He emphasizes that his wife never lies.

To determine the truth, Judge Danforth summons Elizabeth into the courtroom. Hoping to save her husband, Elizabeth denies that her husband had ever been with Abigail. Unfortunately, this dooms John Proctor.

Abigail leads the girls in a make-believe fit of possession. Judge Danforth is convinced that Mary Warren has gained a supernatural hold upon the girls. Frightened for her life, Mary Warren claims that she too is possessed and that John Proctor is "the Devil’s man." Danforth places John under arrest.

"The Crucible": Act Four

Three months later, John Proctor is chained in a dungeon. Twelve members of the community have been executed for witchcraft. Many others, including Tituba and Rebecca Nurse, sit in jail, awaiting hanging. Elizabeth is still incarcerated, but since she is pregnant she won’t be executed for at least another year.

The scene reveals a very distraught Reverend Parris. Several nights ago, Abigail ran away from home, stealing his life savings in the process.

He now realizes that if well-loved townspeople such as Proctor and Rebecca Nurse are executed, the citizens might retaliate with sudden and extreme violence. Therefore, he and Hale have been trying to solicit confessions from the prisoners in order to spare them from the hangman’s noose.

Rebecca Nurse and the other prisoners choose not to lie, even at the cost of their lives. John Proctor, however, does not want to die like a martyr. He wants to live.

Judge Danforth states that if John Proctor signs a written confession his life will be saved. John reluctantly agrees. They also pressure him to implicate others, but John is unwilling to do this.

Once he signs the document, he refuses to hand over the confession. He doesn’t want his name to be posted to the door of the church. He declares, “How may I live without my name? I have given you my soul; leave me my name!” Judge Danforth demands the confession. John Proctor rips it to pieces.

The judge condemns Proctor to hang. He and Rebecca Nurse are taken to the gallows. Hale and Parris are both devastated. They urge Elizabeth to plead with John and the judge so that he might be spared. However, Elizabeth, on the verge of collapse, says, “He has his goodness now. God forbid I take it from him!”

The curtains close with the eerie sound of drums rattling. The audience knows that John Proctor and the others are moments away from execution.

• 'The Crucible' Characters
• The Crucible Overview
• Abigail Williams of the Salem Witch Trials
• The Crucible Themes
• Biography of Elizabeth Proctor
• Salem Witch Trials Timeline
• 'Crucible' Character Study: Elizabeth Proctor
• Biography of Elizabeth Parris, Accuser in the Salem Witch Trials
• Abigail (Dane) Faulkner
• "The Crucible" Character Study: Reverend John Hale
• 'The Crucible' Character Study: John Proctor
• 'The Crucible' Quotes
• Character Study of Reverend Parris of 'The Crucible'
• 'The Crucible' Character Study: Judge Danforth
• 'The Crucible' Character Study: Rebecca Nurse
• Abigail Johnson

The Crucible

Arthur miller, ask litcharts ai: the answer to your questions.

In the Puritan town of Salem, Massachusetts in 1692, the town minister, Reverend Parris , discovers his daughter Betty , niece Abigail , and other girls dancing in the forest with his slave Tituba . Betty faints in fright at being discovered, and will not wake. Rumors of witchcraft spread through the town and a crowd gathers at Parris's house while Parris, nervous about his reputation, questions Abigail about what the girls were doing in the forest. Abigail says they were just dancing, though it soon comes out that Tituba was trying to conjure dead spirits.

Parris runs off to calm the crowd, and a local farmer named John Proctor winds up alone with Abigail. While Abigail was a servant in the Proctor household, she and Proctor had an affair. Abigail tells Proctor there was no witchcraft, and insists Proctor still loves her. Proctor, guilt-ridden over the affair, tells her it's over. As the crowd downstairs begins to sing a hymn, Betty starts screaming and Parris, Thomas Putnam , Ann Putnam , Rebecca Nurse , and Giles Corey come running into the room. An argument about whether witchcraft led to Betty's condition soon transforms into an argument about other local political issues. Just then, Reverend Hale , a noted investigator of witchcraft, arrives, and Proctor, Rebecca Nurse, and Giles Corey leave.

Under threat of punishment if she refuses to confess, Tituba breaks down and admits she communed with the devil. She begins to name other witches in the town. Abigail, seeing that she'll be punished unless she joins Tituba in naming names, leaps up and begins to name more witches. Betty wakes and joins in.

Eight days later, Proctor and his wife Elizabeth discuss the many people who have been charged with witchcraft by a court presided over by the deputy governor of the province. They learn from their servant Mary Warren , one of the girls accusing people in the town of witchcraft, that Elizabeth is herself accused. Elizabeth wants Proctor to expose Abigail as a fraud, but she suspects Proctor may still have feelings for the girl. As Proctor angrily denies it, Hale arrives to investigate the Proctors. He's soon followed by Giles Corey and Francis Nurse , whose wives have been accused of witchcraft and imprisoned. Moments later the authorities come and take away Elizabeth. Once they're alone, Proctor demands that Mary expose the other girls as frauds and promises to confront Abigail if he must.

Proctor brings Mary to court to expose the accusations as lies. The girls, led by Abigail, deny the charge. Proctor reveals his affair with Abigail to show that she's dishonest. To test Proctor's claim, Deputy Governor Danforth calls out Elizabeth, who Proctor says will never lie. But when asked if Proctor had an affair with Abigail, Elizabeth denies it to protect her husband's honor. Abigail and the other girls seize the moment to pretend Mary is attacking them with her spirit. Mary breaks under the strain and joins them, denouncing Proctor as an ally of the devil. Danforth orders Proctor's arrest. Hale, who now believes Proctor, denounces the actions of the court.

The witch trials cause anger and riots in nearby towns. A few days before Proctor and many others are scheduled to hang, Abigail steals money from Parris and vanishes. Parris and Hale try to get the people convicted of witchcraft to confess in order to save their lives, because Danforth refuses to stop or postpone the executions, saying it would not be fair to those already hanged. But Danforth does allow Elizabeth, who's pregnant and therefore safe from hanging, to talk to Proctor. After speaking with his wife, Proctor agrees to confess, but refuses to incriminate anyone other than himself. Once he signs his confession, he refuses to hand it over. His name is all he has left, he says, and he won't ruin it by signing lies. Danforth says that if Proctor is not honestly confessing, then he won't accept the confession. Proctor tears up the statement. Parris and Hale are horror-struck as Proctor goes to the gallows, but Elizabeth says he has gotten his "goodness" back.

87 The Crucible Essay Topics & Examples

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The Crucible is a play by famous American playwright Arthur Miller that premiered in 1953 in NYC. It is based on a true story of the Salem witch trials that took place in the late 17th century.

In your The Crucible essay, you might want to make a literary analysis of the play. Another option is to focus on one of the themes or symbols used by Miller. Whether you need to write a short 5-paragraph essay or a longer argumentative paper on the play, this article will be helpful. It contains catchy titles, research questions, and essay topics for The Crucible by Arthur Miller. Free essay examples are added to inspire you even more.

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• The Transformation of Abigail Williams in “The Crucible” by Arthur Miller
• The Themes of Intolerance, Reputation, and Injustice in “The Crucible” by Arthur Miller
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• What Were the Changes in John Proctor’s Character Throughout the Play “The Crucible”?
• Why Is “The Crucible” So Famous?
• How Does Arthur Miller Create Tension in the Trial Scene of “The Crucible”?
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• How Does Arthur Miller Explore Social Injustice in His Play “The Crucible”?
• How Arthur Miller Effectively Illustrates the Strength of John Proctor in His Play “The Crucible”?
• How Arthur Miller Makes Act Three of “The Crucible” a Dramatic Scene?
• Why “The Crucible” Remains Important Today?
• What Arthur Miller’s “The Crucible” Has to Offer to Modern Readers Globally?
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• How Does Miller Use Reverend Hale in “The Crucible”?
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The Crucible by Arthur Miller

October 23, 2020

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‍ This blog was updated on 23/10/2020.

2. Historical Context

3. Character Analysis

5. Symbols and Motifs

6. Quote Analysis

7. Sample Essay Topics

8. Essay Topic Breakdown

The Crucible 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 .

The Crucible , Arthur Miller’s 1953 realist play, is based on the historical events of the 1692 Salem witch hunts. Although partially fictionalised, it depicts the very real consequences of false accusations based on blind religious faith , as Miller displays the dangers of such baseless rumours. However, the play was written during another type of witch hunt: McCarthyism in 1950s America. This was a political movement in which Senator Joseph McCarthy attempted to control the spread of Communism by placing any Communist sympathisers on a blacklist. This resulted in a widespread fear of Communist influences, and a political hunt similar to the Salem witch trials began, as civilians attempted to escape their own charges by accusing other innocent individuals of treason. Thus, given the historical context of the time, Miller uses The Crucible as an allegorical warning for the audience against the dangers of McCarthyism in 1950s America. 

These concepts will be fully unpacked later, but it is important to keep these key notions of hysteria, accusation and blind faith in mind as you study the text. These are the fundamental ideas that the play is based upon, and also the elements which make The Crucible hugely relevant in our society today. One could even say that the development of technology has made it easier for false allegations and social rumours to spread - leading to drastic consequences specific to the 21st century, such as the leaking of critical government information and cyberbullying. Not to mention, the anonymity of technology has enabled individuals to start modern-day witch hunts as a nameless, faceless user behind the comfort and security of their screens!

Historical Context

In varying degrees, every work of literature reflects its historical context , or the social and political conditions that shaped its time period. The Crucible is a four-act play, which presents a dramatised and partially fictionalised depiction of the 1692 Salem witch trials. It was also published in 1953, at the height of the Second Red Scare, or the heightened fear of Communist influences in America. As such, the play is not merely a play based on historically accurate events, but also an allegory of the disastrous consequences of McCarthyism.

Character Analysis

John proctor.

Proctor is a strong and hardworking farmer, respected by those in Salem for his power and independence. Possessing a “sharp and biting way with hypocrites”, Proctor is the symbol of autonomous leadership in the play, acting as another source of social authority to the theocratic leaders of the Puritan Church. He is the protagonist of the play, but a flawed individual - while he has great strength of character, he is also presented in The Crucible as an adulterous husband, who is openly defiant of his church. As such, he is described by Miller as a kind of “sinner” - one who experiences an internal moral conflict within himself. Proctor undergoes much personal growth during the plot of the play, redeeming his name and obtaining “goodness” by choosing moral honesty over freedom. This ultimate act of courage symbolises the importance of integrity and honour , and represents the “shred of goodness” in his character. 

Elizabeth Proctor

Although described by Abigail as a “bitter woman”, Elizabeth is the quiet yet resilient wife of Proctor. Her husband’s affair with Abigail renders her resentful towards the former and jealous of the latter, resulting in a wounded and fragile marriage. Her humility is made evident as she blames herself for Proctor’s infidelity, believing she erred in keeping a “cold house”. In tandem with this icy imagery , Miller utilises Elizabeth as a symbol of honesty and strict moral justice , despite it often being mistaken as “coldness” by others - Proctor asserts that Elizabeth’s justice “would freeze beer”. Despite this, Elizabeth proves herself to be a caring source of support for her persecuted husband, believing him to be “a good man”, and ultimately breaking her characteristic honesty in the hopes of his freedom. Her extreme courage is ultimately made evident by her willingness to lose Proctor to the hangman’s noose, rather than for him to lose his moral virtue by signing his name to lies. 

Abigail Williams

Described as “a wild thing”, Abigail is a beautiful, yet manipulative and deceptive adolescent with “an endless capacity for dissembling”. Still in love with Proctor after their brief affair, she lies to the court and condemns Elizabeth as a witch, in a desperate, jealous attempt to win him back and take Elizabeth’s place as his wife. Abigail is the ringleader of the girls, and the progenitor of the false rumours that spiral into the witch hunt. Thus, she embodies falsehood , in a stark contrast to Elizabeth, who is a symbol of truth. Her violent nature is made evident in the play, as she threatens the girls with physical violence and “smashes Betty across the face” in an effort to silence her. Despite this, Miller makes clear that Abigail is a victim of psychological trauma , as she is revealed to have borne witness to the violent death of her parents - partly explaining her disturbed and devious nature. 

Mary Warren 

Mary Warren is a sullen, sensitive and easily manipulated servant of the Proctor household. Her volatile nature makes her an easy target for Abigail, who manipulates her into betraying the Proctors by planting a poppet in Elizabeth’s room, which ultimately becomes the leading evidence in her sentencing. Mary is a symbol of mass hysteria , as her easily exploitable nature and weakness in spirit represent the irrationality of those who are quick to believe rumours, such as the persecutors of the Salem witch hunts, as well as the accusers of the McCarthy era. 

Susanna Walcott, Mercy Lewis, Betty Parris

Referred to as “the girls” throughout the play, these young individuals are manipulated by Abigail to falsely convict Elizabeth and numerous others as practicers of witchcraft. All of these girls possess a common fear of Abigail, and carry out her orders in an attempt to evade their own punishment at her hands. Thus, Miller uses them to emphasise his allegory of the McCarthy trials , in which numerous people accused others of Communism based on their own fear of being charged by the Court. 

Mass Hysteria

Mass hysteria is one of the most significant themes of the play, as Miller depicts the entire town of Salem engulfed by the superstition of witchcraft and devil-worship. The community-wide fear of consorting with the devil is shown to overwhelm any kind of rational thought . As one rumour created by Abigail and the girls leads to dozens of incarcerations and executions in a matter of days, The Crucible depicts the “perverse manifestation of panic” that can occur from unsubstantiated fear . Miller uses this illustration of hysteria to show the effects of a strictly repressive Puritan society . Although some residents of Salem manipulate the witch hunt for their own benefit, such as Abigail, the majority of the townspeople are launched into the terror-fuelled “fever” by their genuine belief that the devil is running amok in Salem. The strict theocracy of the town thus exacerbates the crisis, as joining the accusatory crowd becomes a religious necessity ; a virtuous “plane of heavenly combat between Lucifer and the Lord”. As such, the play demonstrates how uncontrolled religious fervour can lead to the collective indoctrination of “black mischief”, where panic clouds all reason. 

Judgement in The Crucible encompasses three meanings; the legal, personal, and spiritual . The legal judgement in the play is depicted as superficial - mainly illustrated through the characters of Hathorne and Danforth, the theocratical Salem court does not carry out real justice due to its dogmatic focus on its reputation . This is depicted by Danforth’s stubborn refusal to free the innocents accused, due to his belief that it would lead to a tainted esteem of the court. Thus, Miller suggests that the more important judgement is personal - exemplified by the character of Proctor. Believing himself to be a “sinner” against his own “version of moral conduct”, Proctor throughout the play shows limitless remorse and self-hatred for the hurt he has caused Elizabeth by his affair with Abigail. Miller shows the importance of forgiveness through self-judgement , as Elizabeth assures Proctor that there is “no higher judge under Heaven” than Proctor himself, and he ultimately is able to forgive himself and see the “shred of goodness” within him by the end of the play. Furthermore, The Crucible depicts the town of Salem overcome by the fear of God’s judgement, or what Proctor calls “God’s icy wind” . The events of the play unfold due to the town’s collective fear of the higher power of an “Almighty God”. As Hale proclaims, “Before the laws of God we are as swine!”, Miller showcases the extent of the fearsome “power of theocracy” in circumstances of confusion and hysteria .

The events of the Salem witch trials detail various types of accusation. Although all are disguised as the dispelling of witchcraft, the false allegations depicted in the play are carried out with a range of different motives . For example, Abigail’s accusation of Elizabeth as a witch is described to derive from a “whore’s vengeance” due to her passionate jealousy of Elizabeth’s position as Proctor’s wife, and Abigail’s wish to take her place. Similarly, Rebecca Nurse’s charge of “murdering Goody Putnam’s babies” is due to the Putnams’ resentment and jealousy of her numerous children, while they themselves have lost babies “before they could be baptised”.  In contrast to this, the accusation of Martha Corey, Giles' wife, of witchcraft is motivated by Walcott’s desire for revenge , as he resents her for the unhealthy “pig he bought from her five years ago”. Thus, his actions are calculative rather than passionate - a cruel attempt to get “his money back”. In his employment of the play as a historical allegory , this depiction of the blind following of rampant accusations depicted in The Crucible represents the similarly irrational proceedings of the McCarthy trials, many of which were carried out without substantial evidence. 

Honour and Integrity

Honour is one of the most prominent themes in the play, as the majority of the characters strive to maintain their reputations in society . Miller depicts a community in which private and public characters are one and the same, and the consequences of the obsessive desire to uphold the esteem of their name. For example, although Proctor has the chance to undermine the girls’ accusations by revealing Abigail as a ‘whore’, he does not do so in order to protect his good name from being tarnished . Likewise, Parris at the beginning of the play threatens Abigail and the girls due to his fear that hints of witchcraft will threaten his already precarious reputation in the church and banish him from the pulpit. Furthermore, the judges of Salem do not accept any evidence that could free the innocent accused, as they uphold a false reputation to honour the Puritan church. Despite this, Miller shows the importance of prioritising personal honour over public reputation through the character of Proctor. As he ultimately makes the valiant decision in Act IV to refrain from “signing lies” and thus uphold his name, he is able to redeem himself from his previous sins and is able to die with righteousness.

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Symbols and Motifs

The crucible.

A crucible is a ceramic or metal container in which metals, chemicals or other substances may be melted or subjected to very high temperatures. As such, Miller in the play employs the violent imagery of a crucible to symbolise the severe and challenging test of the Salem witch hunts . As spoken by Danforth in Act III, “We burn a hot fire in here; it melts down all concealment”, the motif of the crucible represents the merciless nature of both the Salem and McCarthy court proceedings , and their dogged determination to convict, despite the lack of substantial evidence. Crucibles are often used for the chemical process of calcination, during which particles are heated to high temperatures in order to purify them - removing any volatile substances from the compound. As such, Miller also suggests that societal challenges such as those depicted in the play can lead to situations in which the good can be separated from the evil ; as the town is split into those who are “with this court or…against it”, the witch hunts illustrate the distinction between the individuals who possesses moral integrity and those who manipulate the situation for their selfish pursuits . 

In Act III, Abigail and the girls plant a poppet, or doll, in Elizabeth’s house, in an attempt to frame her as an individual guilty of witchcraft. As Abigail stabs the doll with a needle in its stomach before leaving it on Elizabeth’s shelf, she is able to pretend that her own stomach is injured from Elizabeth’s practice of voodoo with it. The poppet is a symbol of childhood and girlhood , and the play’s depiction of it as a tool for malicious revenge represents the loss of innocence and pretence that arises out of the witch hunts . Miller illustrates the danger of mass hysteria , as he depicts the young group of girls, led by Abigail, become manipulated into condemning innocent townspeople to death; thereby losing their innocence and moral virtue . The poppet is also employed as a symbol of deception , as it emphasises the fact that the Salem persecutions are based on lies and falsehood . As the court ignores Elizabeth’s outraged protests that she has not kept a poppet since she was a little girl, Miller chastises a justice system which values convenient deceit over the cumbersome truth . 

Although traditionally associated with knowledge and truth, the motif of paper in the play symbolises morality and individualism . Paper first appears in the play as the judicial list naming the condemned, then as a document of proof outlining Proctor’s alleged crimes as a practicer of witchcraft and agent of the devil. As such, paper initially symbolises the false accusations that run rampant in Salem , and the destructive consequences of such on the lives of the accused innocents. This idea is furthered by Miller’s depiction of the signed, “seventy-two death warrants” of innocents, illustrating paper as a symbol of the unjust punishment and corruption within the Salem court . It is only when Proctor refuses to sign the testimony or have his false confession “posted on the church door”, that the symbol of paper begins to serve as a motif of heroism . As Proctor ultimately refuses to “sign [his] name to lies”, then “tears the paper and crumples” the document denouncing him as a devil-consorter in Act IV, Miller portrays paper as a mode for personal redemption in the face of blind injustice . This advocating for personal salvation is supported by the character of Hale, who undergoes a similar transformation. Although initially described as an intellectual whose paper “books are weighted with authority”, this religious authority loses its value throughout the tragic events of the play, as the injustices of the court lead him to lose his “great faith” in God. Ultimately, like Proctor, Hale is only able to gain personal redemption through his realisation of the immoral nature of the court and his attempts (albeit unrealised) to save the remaining incarcerated innocents from the fate of the gallows.

Quote Analysis

"There are wheels within wheels in this village, and fires within fires!”

Ann Putnam speaks this line when she admits to interrogating Tituba about the possibility of witchcraft having caused the early deaths of her seven infants. The audience can perceive her hysteria , as she begins to fear that the rumours of devil worship in Salem may be true, and that she may also lose her last surviving child, Ruth. Her sense of paranoia works to foreshadow the mass hysteria that is to overwhelm the town. This quote is also a direct reference to the prophet Ezekiel in the Bible , who compares his vision of God in his chariot to a gyroscope - an instrument of stability and balance. As such, Mrs. Putnam’s allusion to God is a direct reference to the rigidity of the Puritan value s in Salem, disguised as a creed of “unity” , when in reality it’s the root cause of social paranoia and resentment . The quote also illustrates that she believes that there are more complex and intricate forces present in Salem - the “deep and darkling forces” as described by Miller - which work to determine the fates of the townspeople. Combined with its fire imagery , this quote effectively foreshadows the drama that will unfold in the Salem court, in which Abigail and the girls will invent invisible spiritual forces to accuse innocents, in a court of “hot fire”, acting to “melt down all concealment”. 

“We cannot look to superstition in this. The Devil is precise; the marks of his presence are as definite as stone.” 

Hale says this to Parris when he first arrives in Salem from Beverley, after he is asked to inspect Betty for signs of witchcraft or possession by the devil. Although Parris is already convinced by the rampant rumours in the town of the existence of the devil and its effect on his daughter, Hale (being a professional “investigator of witchcraft”) is more meticulous in his examination of such a “strange crisis”. By calling the devil “precise”, Hale depicts his true and unflinching belief in its existence, representing the inflexible Puritan mindset . This quote is integral to understanding Hale as a character, and thus the nature of his disillusionment later in the play, as it reveals that Hale does not believe in witchcraft due to the mass hysteria and paranoia of the town, but because he possesses genuine and resolute faith in every word of the Bible . As this faith is shown to “bring blood” later in the play, Miller displays the dangerous “power of theocracy” , as the audience perceives Hale becoming radically disillusioned in his religion and world view. 

Sample Essay Topics

1. “For twenty week he preach nothin’ but golden candlesticks til he had them!” Are the leaders of the community misguided in The Crucible ? Discuss.

2. Miller uses fire and ice imagery in The Crucible to denounce the nature of humanity. Discuss.

3. ‘In The Crucible , the characters make decisions based solely on their emotions’. Do you agree?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Crucible Study Guide t o practice writing essays using the analysis you've learnt in this blog!

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: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Essay Prompt: In a theocracy, law and religion are bound together. What are the benefits and challenges of this depicted in The Crucible ? 

Step 1: analyse .

Here, we are asked to examine the benefits and challenges of a theocratic system , as depicted in The Crucible . Thus, we must consider both the positive and negative aspects of the binding of law and religion . It is a good idea to delegate two paragraphs to the challenges and one to the benefits , due to the fact that Miller wrote the play with the authorial intention of denouncing the repressive rigidity of its government - this means it is easier to think of negatives rather than positives. 

Step 2: Brainstorm

Let’s break down the term ‘ theocracy ’, as this is the focus of this essay topic. The play shows us various effects of such a system, but what does it actually mean? A theocracy is a form of government in which a religion (in this case, Puritanism) is recognised as the supreme ruling authority . Thus, as mentioned in the essay question, in a theocracy the rules of religion are treated as the law . Now, think of some of the words , phrases or key ideas you think of when you conjure up Salem’s version of theocracy. This may include:

• Strictness of Puritan values
• Unity vs. individualism
• Exploitation of the name of the church for personal gains 
• Societal repression
• Superfluous power given to the court
• Opportunity for individuals to reform 
• Social vs. individual redemption
• Disillusionment

Step 3: Create a Plan

When planning an essay, it is easy to let yourself go off track, discussing another point that is not quite relevant to the topic given. To prevent this from happening, always keep the topic firmly in your mind - glance at it periodically throughout your planning if needed, and check that every body paragraph that you are planning directly relates back to the topic and answers what it is asking . So, keeping the topic and its focus on theocracy firmly in mind, I chose to approach this essay with the following structured plan: 

Paragraph 1 : The Salem theocracy leads to the unjust exercise of power , resulting in a tragedy . 

• Here, our focus is on the overarching injustices that the theocratic nature of the government allows to occur . 
• Focus on the fact that it is because religion is the law , that the crime of witchcraft (believed to be a crime against God) is so severely punished (by death!). 
• Also discuss that it is due to the rigidity of the theocracy that any slight divergence from a complete adherence to Puritanism is perceived as a crime . 
• Examples of this include the witch hunt itself, and the victimisation of innocents who are condemned to be executed for crimes that they did not commit. 

Paragraph 2: The town’s theocratic belief in God is exploited by individuals who use it for their own personal gain .

• Our job here is to highlight the selfish natures of certain individuals, who take advantage of the townspeople’s theocratic mindsets to utilise the town’s mass hysteria for their own motives . 
• Examples of such characters include Abigail and Parris , who participate in the witch hunt out of vengeance and fear respectively.

Paragraph 3: However, the theocratic nature of the government allows opportunity for reform, and the ability to distinguish between morality and immorality.

• Here we are discussing the benefit that arises out of the theocracy, namely the idea that the tragedy that results from such allow certain individuals to be enlightened and reformed .
• Emphasise the fact that the theocracy does lead to disastrous effects , but it is from this hardship that we are able to distinguish the characters of good from the characters of evil. 
• An example of a character who undergoes reform is Hale , who becomes simultaneously disillusioned and enlightened by the tragedy of the Salem persecution.
• An example of an individual revealed by the events of the play to be ultimately immoral is Danforth , who refuses to change and reform , despite realising the injustice and cruelty of his actions. 

If you find this essay breakdown helpful, then you might want to check out our The Crucible Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

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Updated 30/12/2020

• What Are Quotes?
• Why Use Quotes?
• What You Want To Quote
• How Much You Want To Quote
• How That Quote Will Fit into Your Essay
• There Are Also Other Ways of Using Quotation Marks
• Questions You Must Ask Yourself When Weaving Quotes into Sentences
• How To Find Good Quotes

1. What Are Quotes?

Quotations, better known by their abbreviation ‘quotes’, are a form of evidence used in VCE essays. Using quotations in essays helps to demonstrate your knowledge of the text, and provides solid evidence for your arguments. The discussion on quotations in this study guide can be applied to all three areas of study in the VCAA English course which have been explained in detail in our Ultimate Guide s to VCE Text Response , Comparative and  Language Analysis .

A quotation is the repetition of a group of words taken from a text by someone other than the original author. The punctuation mark used to indicate a repetition of another author’s work is presented through quotation marks. These quotation marks are illustrated by inverted commas, either single inverted commas (‘ ’) or double inverted commas (“ ”). There is no general rule in Australia regarding which type of inverted comma you must use for quotations. Single inverted commas are preferred in Australia as they follow the British standard. The American standard involves styling quotations with the double inverted comma. You can choose either style, just be consistent in your essays.

2. Why Use Quotes?

The usage of quotations in essays demonstrates:

• Your knowledge of the text
• Credibility of your argument
• An interesting and thoughtful essay
• The strength of your writing skills.

However, quotations must be used correctly, otherwise you risk (and these frequent mistakes will be discussed in detail later):

• Irrelevant quotations
• Overcrowding or overloading of quotations
• Broken sentences

How You Integrate a Quote into an Essay Depends on Three Factors:

• What you want to quote
• How much you want to quote
• How that quote will fit into your essay.

3. What You Want To Quote

As you discuss ideas in a paragraph, quotes should be added to develop these ideas further. A quote should add insight into your argument; therefore, it is imperative that the quote you choose relates intrinsically to your discussion. This is dependent on which aspect of the text you are discussing, for example:

• Description of theme or character
• Description of event or setting
• Description of a symbol or other literary technique

Never quote just for the sake of quoting. Quotations can be irrelevant  if a student merely adds in quotes as ‘sentence fillers’. Throwing in quotations just to make your essay appear more sophisticated will only be more damaging if the quotation does not adequately reinforce or expand on your contention. Conversely, an essay with no quotations will not achieve many marks either.

4. How Much You Want To Quote

A quotation should never tell the story for you. Quotations are a ‘support’ system, much like a back up for your ideas and arguments. Thus, you must be selective in how much you want to quote. Generally speaking, the absolute minimum is three quotes per paragraph but you should not  overload  your paragraphs either. Overcrowding your essay with too many quotations will lead to failure to develop your ideas, as well as your work appearing too convoluted for your assessor. Remember that the essay is  your  piece of work and should consist mainly of your own ideas and thoughts.

Single Word Quotations

The word ‘evaporates’, used to characterise money and happiness intends to instill the idea that happiness as a result of money is only temporary. (VCAA ‘Can Money Buy Happiness’ Language Analysis)

Single worded quotations can often leave the largest impression on the assessor. This is because you are able to demonstrate that you can focus on one word and develop an entire idea around it.

Phrase Quotations

Sunil Badami ‘still found it hard to tie my Indian appearance to my Australian feeling', showing that for Sunil, his culture was not Indian, but Australian due to his upbringing. ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia )

A phrase quotation is the most common quotation length you will use in essays.

Long Quotations

The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as ‘sometimes, if I walked the main street of the village in the evening, I felt the press of their ghosts. I realised then that I had begun to step small and carry myself all hunched, keeping my arms at my sides and my elbows tucked, as if to leave room for them.’ ( Year of Wonders, Geraldine Brooks )

Long quotations comprise of more than one sentence – avoid using them as evidence. Your assessor will not mark you highly if the bulk of your paragraphs consists of long quotations. You should aim to keep your quotations to less than 2 lines on an A4 writing page. If you have a long quotation you wish to use, be selective. Choose only the important phrases or key words, and remove the remaining sentence by replacing it with an ellipsis (…).

Here is the same example again, with the student using ellipsis:

The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as she felt ‘the press of their ghosts…[and] begun to step small and carry myself all hunched…as if to leave room for them.’ ( Year of Wonders, Geraldine Brooks)

In this case, we have deleted: ‘sometimes, if I walked the main street of the village in the evening’ and ‘I realised then that I had’ by using an ellipsis – a part of the quotation that is not missed because it does not represent the essence of the student’s argument. You would have noticed that a square bracket ([  ]) was used. This will be discussed in detail under  Blending Quotes.

5. How That Quote Will Fit into Your Essay

You must never take the original author’s words and use them in your essay  without  inserting them in quotation marks. Failure to do so leads to ‘plagiarism’ or cheating. Plagiarism occurs when you take someone else’s work and pass it off as your own. You must make sure that you use quotation marks whenever you use evidence from your text.

The following is plagiarism:

Even a single flicker of the eyes could be mistaken for the essential crime that contained all other crimes in itself – thought crime.  (1984, George Orwell)

Using quotation marks however, avoids plagiarism:

Even ‘a single flicker of the eyes’ could be mistaken for ‘the essential crime that contained all other crimes in itself – thought crime.’  (1984, George Orwell)

There are serious consequences for plagiarism. VCAA will penalise students for plagiarism. VCAA uses statistical analysis to compare a student’s work with their General Achievement Test (GAT), and if the cross-referencing indicates that the student is achieving unexpectedly high results with their schoolwork, the student’s school will be notified and consequential actions will be taken.

Plagiarism should not be confused with:

• ‍ Paraphrasing : to reword or rephrase the author’s words
• ‍ Summarising: to give a brief statement about the author’s main points
• ‍ Quoting : to directly copy the author’s words with an indication (via quotation marks) that it is not your original work

Blending Quotations

You should always aim to interweave quotations into your sentences in order to achieve good flow and enhanced readability of your essay. Below is a good example of blending in quotations:

John Proctor deals with his own inner conflict as he is burdened with guilt and shame of his past adulterous actions. Yet during the climatic ending of the play, Proctor honours his principles as he rejects signing a false confession. This situation where Proctor is confronted to ‘sign [himself] to lies’ is a stark epiphany, for he finally acknowledges that he does have ‘some shred of goodness.’ ( The Crucible, Arthur Miller)

There are three main methods in how you can blend quotations into an essay:

1. Adding Words

Broken sentences  are a common mistake made when students aim to integrate quotations into their sentences. Below are examples of broken sentences due to poor integration of a quotation:

‘Solitary as an oyster’. Scrooge is illustrated as a person who is isolated in his own sphere. ( A Christmas Carol, Charles Dickens)

Never write a sentence consisting of  only  a quotation. This does not add insight into your argument, nor does it achieve good flow or readability.

Scrooge, ‘solitary as an oyster’, is illustrated as a person who is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

This example is better, however the sentence is still difficult to read. In order to blend quotations into your sentences, try adding in words that will help merge the quotation and your own words together:

Described as being as ‘solitary as an oyster’, Scrooge is illustrated as a person who is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

Scrooge is depicted as a person who is ‘solitary as an oyster’, illustrating that he is isolated in his own sphere.  (A Christmas Carol, Charles Dickens)

Tip: If you remove the quotation marks, the sentence should still make sense.

2. Square Brackets ([   ])

These are used when you need to modify the original writer’s words so that the quotation will blend into your essay. This is usually done to:

Change Tense

Authors sometimes write in past  (looked) , present  (look)  or future tense  (will look) . Depending on how you approach your essay, you may choose to write with one of the three tenses. Since your tense may not always match the author’s, you will need to alter particular words.

Original sentence: ‘…puts his arm around Lewis’ shoulder’ ( Cosi, Louis Nowra)

Upon seeing Lewis upset, Roy attempts to cheer him up by ‘put[ting] his arm around Lewis’ shoulder’. ( Cosi, Louis Nowra)

Change Narrative Perspective

The author may write in a first  (I, we) , second  (you)  or third person  (he, she, they)  narrative. Since you will usually write from an outsider’s point of view, you will refer to characters in third person. Thus, it is necessary to replace first and second person pronouns with third person pronouns. Alternatively, you can replace first and second person pronouns with the character’s name.

The original sentence: ‘Only now can I recognise the scene for what it was: a confessional, a privilege that I, through selfishness and sensual addiction, failed to accept…’  (Maestro, Peter Goldsworthy)

When Keller was finally ready to share his brutal past with Paul, the latter disregarded the maestro, as he was too immersed in his own adolescent interests. However, upon reflection, Paul realises that ‘only now can [he] recognise the scene for what it was: a confessional, a privilege that [he], through selfishness and sensual addiction, failed to accept’.  (Maestro, Peter Goldsworthy)

Insert Missing Words

Sometimes, it may be necessary to insert your own words in square brackets so that the quotation will be coherent when incorporated into your sentences.

The original sentence: ‘His heels glow.’ ( Ransom, David Malouf)

Achilles, like Priam, feels a sense of refreshment as highlighted by ‘his heels [which] glow.’ ( Ransom, David Malouf)

It is important to maintain proper grammar while weaving in quotations. The question is: does the punctuation go inside or outside the final quotation mark?

The rule is: If the quoted words end with a full stop (or comma), then the full stop goes inside the quotation marks. If the quoted words do not end with a full stop, then the full stop goes outside the quotation marks.

Original sentence: 'Sagitty’s old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.’ ( The Secret River, Kate Grenville)

Punctuation inside:

During the past decade, Thornhill became the wealthiest man in the area, owning ‘Sagitty’s old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.’ ( The Secret River, Kate Grenville)

Punctuation outside:

During the past decade, Thornhill became the wealthiest man in the area, owning ‘Sagitty’s old place plus another hundred acres’. ( The Secret River, Kate Grenville)

6. There Are Also Other Ways of Using Quotation Marks

Title of text.

When including the title of the text in an essay, use single quotation marks.

Directed by Elia Kazan, ‘On The Waterfront’ unveils the widespread corruption among longshoremen working at New Jersey docks. ( On The Waterfront, Elia Kazan)

Alternatively, you can underline the title of the text instead of using single quotation marks. Many teachers and examiners prefer this option.

Quotation Within a Quotation

When you quote the author who is quoting someone else, then you will need to switch between single and double quotation marks. You firstly need to enclose the author’s words in single quotation marks, and then enclose the words they quote in double quotation marks. If you're following the American standard, you'll need to do this the opposite way - that is, using double quotation marks for the author's words and and then single quotation marks for the quote. We recommend sticking to the preferred Australian style though, which is single and then double.

Original sentence: ‘…something bitter and stringy, too difficult to swallow. “It’s just that – I – um, I hate it…It’s too – it’s too Indian!”’ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)

Sunil’s unusual name leads him to believe that it is ‘…something bitter and stringy, too difficult to swallow. “It’s just that – I – um, I hate it…It’s too – it’s too Indian!”’ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)

As you can see, the student has quoted the author’s words in single quotation marks. The dialogue used by the author is surrounded by double quotation marks. This demonstrates that the dialogue used in the text still belongs to the author.

Using Quotations to Express Irony

When you wish to express irony, you use quotation marks to illustrate that the implied meaning of the actual word or phrase is different to the normal meaning.

As a young girl, Elaine is a victim of Mrs Smeath and her so called ‘friends’. Her father’s interest in insects and her mother’s lack of housework presents Elaine as an easy bullying target for other girls her age who are fit to fulfill Toronto’s social norms. ( Cat’s Eye,  Margaret Atwood)

In this case, ‘friends’ is written in inverted commas to indicate that Elaine’s peers are not truly her friends but are in fact, bullies.

7. Questions You Must Ask Yourself When Weaving Quotes into Sentences

1.  Does the quote blend into my sentence?

2.  Does my sentence still make sense?

3.  Is it too convoluted for my readers to understand?

4.  Did I use the correct grammar?

8. How To Find Good Quotes

Tip One: Do not go onto Google and type in 'Good quotes for X text', because this is not going to work. These type of quotes are generally the most famous and the most popular quotes because, yes they are good quotes, but does that necessarily mean that it's going to be a good quote in your essay? Probably not. But why? Well, it's because these quotes are the most likely to be overused by students - absolutely every single person who has studied this text before you, and probably every single person who will study this text after you. You want to be unique and original. So, how are you going to find those 'good quotes'? Recognise which quotes are constantly being used and blacklist them. Quotes are constantly used in study guides are generally the ones that will be overused by students. Once you eliminate these quotes, you can then go on to find potentially more subtle quotes that are just as good as the more popular or famous ones. Tip Two: Re-read the book. There is nothing wrong with you going ahead and finding your own quotes. You don't need to find quotes that already exist online or in study guides. Go and find whatever gels with you and whatever you feel like has a lot of meaning to it. I had a friend back in high school who was studying a book by Charles Dickens. I haven't read the book myself, but there was a character who couldn't pronounce the letter S, or he had a lisp of some sort. What my friend did was he found this one word where, throughout the entire book, the guy with the lisp only ever said the S one time and that was a massive thing. So, he used that. This is something that is really unique and original. So, go ahead and try to find your own quotes. Tip Three: Realise that good quotes do not necessarily have to come from the main character. Yes, the main character does often have good quotes associated with whatever they're saying, but just know that you do have minor characters who can say something really relevant and have a really good point too. Their quote is going to be just as strong in your essay as a main character's quote, which will probably be overused and overdone by so many other students. Tip Four: Develop a new interpretation of a famous or popular quote. Most of the time, the really popular quotes are analysed in very much the same way. But if you can offer a new insight into why it's being said or offer a different interpretation, then this is automatically going to create a really good quote that's going to offer a refreshing point of view. For example, if we look at The Great Gatsby , one of the most famous quotes that is constantly being used is, 'He found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass.' What most people will do is they will analyse the part about the 'grotesque thing a rose', because that's the most significant part of the quote that stands out. But what you could do instead, is focus on a section of that quote, for example the 'raw'. Why is the word raw being used? How does the word raw contribute extra meaning to this particular quote? This way you're honing in on a particular section of the quote and really trying to offer something new. This automatically allows you to investigate the quote in a new light. Tip Five: Just remember that the best quotes do not have to be one sentence long. Some of the best quotes tend to be really short phrases or even just one particular word. Teachers actually love it when you can get rid of the excess words that are unnecessary in the sentence, and just hone in on a particular phrase or a particular word to offer an analysis. And also, that way, when you spend so much time analysing and offering insight into such a short phrase or one sentence, it shows how knowledgeable you are about the text and that you don't need to rely on lots and lots of evidence in order to prove your point. Those are my five quick tips on how to find good quotes from your texts!

Need more help with quotes? Learn about 5 Ways You're Using Quotes Wrong .

Resources for texts mentioned/referenced in this blog post:

Comparing: Stasiland and 1984 Study Guide

A Killer Text Guide: Cosi (ebook)

Cosi By Louis Nowra Study Guide

Cosi Study Guide

Growing Up Asian in Australia Study Guide

A Killer Text Guide: On the Waterfront (ebook)

A Killer Text Guide: Ransom (ebook)

Ransom Study Guide

The Crucible by Arthur Miller Study Guide

A Killer Text Guide: The Crucible (ebook)

‍ The Crucible and Year of Wonders Prompts

Comparing: The Crucible and Year of Wonders Study Guide

The Great Gatsby Study Guide

‍ A Killer Text Guide: The Secret River (ebook)

The Secret River by Kate Grenville Study Guide

Updated 24/12/2020

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

• Plot, Analysis, Important Passages and Quotes

1. Characters

Priam is an elderly king of Troy. As a child, his sister Hesione saved him from slavery, and had his named changed from Podarces to Priam, the name meaning ‘the ransomed one’ or ‘the price paid'. After the death of his son Hector, Priam envisions himself in plain clothing, riding a plain cart to Achilles who is effectively holding Hector ransom. His vision is the catalyst for the novel’s events, for his journey is one of learning and self-development. Though the royal family is doubtful of his plan to save Hector, Priam is resolute and insists that he needs to try his best to confront Achilles as a father, rather than as king. After many decades as king of Troy, Priam is determined to reinvent how he will be remembered; as a king who performed an extraordinary act of heroism in order to save his beloved son.

Achilles is known as the greatest warrior of the Greeks. The death of Patroclus, his closest companion and hinted lover, drives Achilles to insanity. Hector murdered Patroclus and, as a result, Achilles takes revenge by killing Hector. He then drags Hector’s dead body along the walls of Troy for the next 11 days. Achilles loses his sense of humanity as he is possessed by his rage, hatred and grief.

Somax is representative of the ‘common man’ in Ransom . He is chosen to escort Priam to Achilles. His simple and plain presence is contrasted with Priam’s royal status. He often engages in useless chatter and performs daily activities in a way that is foreign to the king. Although Somax is far from royalty, his great deal of affection for his daughter-in-law and granddaughter teaches Priam about love, family and life.

Beauty is Somax’s favourite mule. She accompanies Priam and Somax on their journey to the Greek camp where Achilles resides.

Somax’s other mule who carries the cart to Achilles’ camp.

Hecuba is Priam’s beloved wife and mother of Hector. She is initially uncertain of Priam’s vision to save Hector. However, after hearing Priam’s sentimental reasons, she shows support and urges him to first share his plan with their family and the kingdom’s council before he departs.

Hector is Priam’s son and also the leader of the Trojan army. He is kind, brave and noble without any cruel intentions, unlike his rival Achilles. During a battle between the Trojans and the Greeks, Hector kills Patroclus. This results in Achilles challenging Hector to a battle, resulting in Hector’s death and Achilles’ triumph.

Neoptolemus

Neoptolemus is Achilles’ son. Although he is mentioned throughout Ransom , he makes his first appearance at the end of the novel where he savagely slaughters an old and defenseless Priam in an effort to avenge his father’s death. ‍

‍ 2. Themes

Ransom explores who we are and what it means to have an identity. As the leader of Troy for many decades, Priam has always viewed himself as a king. It appears as though Priam has been unhappy with his identity for quite some time, is physically weak, and feels as though he cannot protect his kingdom as efficiently as he used to. However, the death of Hector is a catalyst for Priam as he realises that he needs to become a ‘father’ rather than the ‘king’ he had become so accustomed to. His search for Hector is also a search for himself, to reinvent who he is and how he wishes others to remember him.

Meanwhile, Somax is designated as the king’s herald, with the name Idaeus. He secretly notes his unhappiness with this name appointment, since he is ‘Somax, not Idaeus'. The name ‘Somax’ is associated with many significant events in his life including his marriage and family, yet the new unfamiliar name strips him of this identity. Somax’s confidence and pride in his identity is starkly contrasted with Priam’s pursuit for an identity transformation.

Malouf demonstrates that it is never too late to change one’s ways. Priam’s determination to change how he is remembered – from just another king leading a regal life to a hero who went to extraordinary lengths to regain his child – demonstrates that change is within our grasp. Even though his beautiful wife Hecuba and the rest of his family have reservations about his desire to confront Achilles, Priam is resolved in taking a ‘chance', rather than achieving nothing by remaining within the walls of his home. Unexpectedly, this one idea propels Priam into a multitude of other changes. His journey with Somax teaches Priam a far greater deal than he had anticipated, for he learns to appreciate the value of the human connection and other daily simplicities in life.

Although Achilles is driven by hatred and anger after Patroclus’ death, as with Priam, he manages to change his ways. He is touched by Priam’s pleas and consequently accepts the ransom and returns Hector’s body. He is able to reach this state of peace by releasing his immoral intentions and even offers to hold a ritual for Hector’s body in the Greek walls that very night. This transformation, from a human who responds to grief with vengeance to someone who releases and forgives, demonstrates the benefits we can gain from amending our ways.

Revenge, Guilt and Peace

Revenge is portrayed as a never-ending vicious cycle until both parties reach a negotiation or peace. After Patroclus’ death, Achilles hunts down Hector in order to avenge his best friend’s early death. Although he is successful in murdering Hector, Achilles does not follow the custom of leaving the body for the grieving family to bury. Instead, Achilles feels the need to mutilate the body day after day without any sense of remorse or regret. His additional need to inflict harm on Hector’s body indicates that revenge will not bring closure. His sense of loss is shown as he reflects feeling empty inside, to the point where he no longer feels like himself, but someone else altogether.

Although Achilles and Priam ultimately find peace within themselves, many years later Achilles’ son Neoptolemus murders Priam, bounded by the same hatred and pain depicted by Achilles. Neoptolemus’ subsequent guilt and regret is carried with him throughout the rest of his life, demonstrating that again, revenge is not the answer to any problem.

Chance and Fate

The role of the gods is heavily woven into the events that unfold in Ransom. Priam only begins his transition and journey after envisioning the goddess Iris, who suggests that he take a ‘chance’ and try to save Hector from Achilles’ camp. During his journey, a jovial young man who joins the travellers is revealed as Hermes, a god who has come to safely guide the elderly men to Achilles. The power of the gods in controlling human fate is illustrated during the scene where Hermes saves the travellers from being swept away by a stream.

Nevertheless, it can also be argued that it is the characters’ decisions that lead them to their fate. Although the gods may have instilled in Priam the idea that he should rescue Hector, it is the king’s determination which is a main driving force for the journey. Even when confronted with doubt and hesitancy from his family, it is Priam who pushes onwards to fulfil his vision. Whether his actions were already predestined or of his own agency is up to you to decide.

Nature Versus Man

Man’s presence on earth is shown to have little significance in comparison to the power of nature. While the events in Ransom teach the characters many valuable lessons, ultimately these meaningful moments in the humans’ lives disappear as one reaches their fate – death. Time moves on beyond our lives as we are forgotten over decades and centuries while nature prevails. Priam’s desire to be remembered by others highlights how little significance a life possesses unless one behaves extraordinarily. Malouf demonstrates that in the end, life just is – we are granted by nature to have a brief existence, yet in the end, nature and time will move forward without us.

Commoners Versus Royalty

Although royalty is portrayed to be blessed with power and authority, it is ironically the commoners in Ransom who appear to have the ‘richest’ (and more fulfilling) lives. For the first time, Priam is exposed to the different interests and values of the common man and is intrigued by the simplicities of life. It is Somax, a mere old man from the marketplace, who teaches Priam more about life than he had imagined possible.

Jove’s Eagle

Jove’s eagle is a representation of a bird renowned for its keen sight. The presence of Jove’s eagle during Priam and Somax’s departure hints that the gods will safely guide their journey as the bird behaves as a lookout. Furthermore, the symbol of the eagle’s powerful vision is contrasted with Priam’s ‘blindness’ at the beginning of the journey since he is yet to experience the outside world. It is during the journey that he learns about himself and others, and thus, improves his ‘sight.’ Coincidently, Jove’s eagle is no longer mentioned when Priam is endowed with his new insight.

The royal cart is ‘a fine new one, the marks of the adze still visible on its timbers. The twelve-spoked wheels are elaborately carved and painted, a wickerwork canopy covers the tray'. On all occasions, the king had used this elegant cart to alert others that royalty was present. The use of this cart demonstrates how Priam has been encapsulated in his own royal sphere since everything is meticulously chosen and designed specifically for the king. Nevertheless, his demand for a ‘common work cart’ depicts his determination for a simple approach to Achilles, as a father to another father. This simplicity highlights Priam’s desire to become just another man and father, anonymous in the plain cart with the hopes of retrieving Hector.

Priam as a Child

At the beginning of the journey, Priam is characterised with childish traits. When Somax urges Priam to dabble his feet in the stream, words such as ‘obedient toddler', ‘three uncertain steps', and ‘happy smile’ reflect the actions of a young child trying new experiences. This childish nature is contrasted with Priam’s old and frail age, which demonstrates that although he has lived a life in royalty, his lack of exposure to ‘real life’ has left him crippled of the simplest experiences such as the cooling effect of feet in water and eating delicious homemade cookies.

The cakes Somax brings along during the journey highlight Priam’s lack of knowledge of even the simplest things. For Somax, the little griddlecakes are a regular and delectable snack, yet Priam 'ha[s] never seen them before'. Priam’s unfamiliarity with the cakes represents his isolation from the ‘real world’ since he has been deprived from things that even commoners view as ordinary.

Futhermore, Somax’s lengthy chatter about his daughter-in-law cooking the cakes with the ‘batter bubbling and setting and turning a golden brown’ prompts Priam to think about the activities in his kingdom that occur behind closed doors. He had previously never noticed that there was so much preparation and work that went into the food that appeared at his table, let alone the ingredients and thickness of a batter. These matters had been of little concern to Priam, yet he realises that even the ‘common and low…activities and facts of life, had an appeal'.

Hector’s Body

Although Achilles drags Hector’s body across the walls of Troy for eleven days, each morning he would return to find Hector’s body healed of any wounds, and absent of any physical damage to his body. This is a cruel reminder of the god’s ability to ‘toy around’ with the Ancient Greeks’ lives. Hector’s body also symbolises how revenge is not the answer to any conflict, since dealing with a tragic loss through revenge does not gain anything but more pain and suffering.

Although Priam initially believes he understands the distress of losing a son, Somax’s experience of losing his son is driven with emotions that Priam had never previously experienced. When sharing the story of his son’s death, Somax sniffles, an ‘odd habit’ according to Priam. The use of ‘odd habit’ to describe Somax’s sadness demonstrates how Priam has never truly felt the loss of his son, but only the loss of a royal relationship between king and prince.

Later on, Somax once again ‘snuffles’ and ‘rubs his nose’ at the thought of the ending to their journey. Similarly, Priam makes ‘small sounds', presumably crying as well. The transformation of Priam from someone who failed to empathise with Somax’s tears at the beginning of the journey to a man filled with emotions demonstrates that Priam undergoes both a physical and metaphysical journey where he undergoes self-development and appreciation of the world around him.

4. Plot, Analysis, Important Passages and Quotes

Achilles, the greatest warrior of the Greeks, stands next to the sea while reminiscing about the past. After his mother’s death he had ‘entered the rough world of men’ (p. 6) where wars and battles prevail. Every morning, he feels the need to ‘tramp to shore’ (p. 10) since he is haunted by the death of his ‘soulmate and companion’ Patroclus, and his raging hatred towards Hector, killer of Patroclus and thus, the ‘implacable enemy'.

When Achilles was a child, his cousin Patroclus came to live with the young Achilles since the former had killed the son of a high official of the royal court due to a ‘quarrel over a game of knucklebones’ (p. 11). In need of asylum, Patroclus came to live with Achilles’ family. As the years passed, the pair grew closer to the extent where Achilles believes that ‘he had mated with Patroclus’ (p. 15).

When the tide of the battle was against the Greeks, Patroclus disguises himself in Achilles’ armour in order to instill fear in the Trojans and cause them to return to the safety of their walls, thus providing temporary relief for the Greeks. In his last act for his closest friend, Patroclus is killed in battle*. The death of Patroclus left Achilles with an overwhelming sense of loss and also burning animosity. Achilles whispers that he will join Patroclus soon, but firstly, he has to avenge Patroclus’ killer, Hector.

Hector, the son of Trojan king Priam and leader of the Trojan army, wore Achilles' armour as a sign of triumph and disrespect for the Greeks. In a dramatic battle between Hector and himself, Achilles was successful in killing his enemy. Achilles’ Myrmidons then stripped Hector of his armour and ‘without pity…plunged their swords into Hector’s unprotected flesh’ (p. 24). For Achilles however, this was not enough. Still fuelled by his pain, Achilles ties Hector’s body to a chariot and drags it ‘up and down under the walls of Troy’ (p. 26) as the dead warrior’s royal family devastatingly watches on. Achilles feels like a ‘dead man…feeling nothing’ (p. 26), unable to seal the void left by his beloved friend.

The next day, Achilles is furious to find Hector’s body ‘smoothly sealed and the torn flesh made whole again'. His men cannot bear to look at him as he drives the chariot with Hector’s body along the walls of the Trojans once again. Afterwards he quickly falls asleep, into ‘oblivion’ (p. 35) as he struggles with the shame and guilt of his actions. He is ‘waiting for a break…something new and unimaginable’ in his life.

The Human Side

Along with the conflict between Greece and Troy, Ransom also delves into the consequences of those affected by the war. As the greatest warrior of all Greeks, Achilles has lived his life as a fighter. Nevertheless, his pathway in life has led him to believe that ‘such a life is death to the warrior spirit’ (p. 7). While warriors are known for sacrificing their lives in the battlefield, Achilles does not literally refer to warriors confronting death each time they fight for their team. In fact, ‘death to the warrior spirit’ means to metaphorically lose what it means to ‘live’ when one experiences bloodshed in each war. Growing up surrounded by ‘the rough world of men’ (p. 6), Achilles develops traits of aggression, cruelty and vengefulness in order to become an implacable man of war. As a consequence, Achilles only knows how to deal with Patroclus’ death with a fighter’s mindset. Instead of grieving openly, ‘he never permit[s] himself to betray to others what he [feels]’ (p. 5), thus detaching himself from the natural human process of grieving. In order to deal with his friend’s tragic ending, Achilles' ‘soul chang[es] colour’ as drags Hector’s body for eleven days without any sense of regret or remorse, and thus, is referred to as ‘death to his human spirit’ since he was no longer ‘a living man’ (p. 27). He faces Patroclus’ death with the same warrior traits of aggression, cruelty and vengefulness, depriving himself of any ability to humanely mourn his close friend’s death.

Furthermore, Achilles grieves for his mother in the opening passages of Ransom . During this time of loss, his mother symbolises Achilles’ need to be nurtured. The imagery of the sea surface as a ‘belly’ and ‘a membrane stretched to a fine transparency’ (p. 3) represents his mother’s pregnancy where he ‘had hung curled in a dream of pre-existence’ for ‘nine changes of the moon’ – or in other words, nine months of pregnancy. Achilles is characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. Although Achilles is a fighter, he hides the fact that he wishes to be ‘rocked and comforted’ by his mother, thus demonstrating that even beneath the surface of a cold-hearted warrior, the current of human emotions can cripple a man’s confident veneer.

If you'd like to read more of my analysis, feel free to access a sample of our ebook A Killer Text Guide: Ransom . In this ebook, I cover Plot, Analysis, Important Passages and Quotes so you can prepare for your SAC and exam. I've also included 5 Sample A+ English essays on Ransom , complete with annotations so you know exactly what you need to do in your next essay to achieve an A+.

All the best for your studies in Ransom!

Picture this: you’re sitting down at your desk, fumbling your fingers, inspecting the new stationary that you convinced yourself you needed for year 12, resisting the urge to check your phone. Your text response SAC is in two weeks. You’re freaking out because you want, no, need an A+. You decide to write a practice essay for your English teacher. Practice makes perfect, right? You stay up for hours, pouring your heart and soul into this essay. The result? B+. Where did I go wrong?

That’s where I come in! Writing an A+ essay can be really tough without examples and specific advice. Before reading on, make sure you've read our Ultimate Guide to VCE Text Response and Golden Age blog so you are up to scratch.

In this article I will be explaining some basic dos and don’ts of writing an essay on The Golden Age , providing a model essay as an example. At the end of this blog is also a video based on another essay prompt to help you prepare for your Golden Age studies!

The following prompt will be referenced throughout the post;

‘The Golden Age’ shows that everyone needs love and recognition. Discuss.

Planning: the silent killer of A+ essays

I’m sure your teachers have emphasised the importance of planning. In case they haven’t, allow me to reiterate that great planning is compulsory for a great essay . However, flimsy arguments aren’t going to get you an A+. The examiners are looking for complex arguments , providing a variety of perspectives of the themes at hand. From the above prompt, the key word is, ‘discuss’. This means that you should be discussing the prompt, not blindly agreeing with it . Make sure you don’t write anything that wouldn’t sit right with London. ‍

Don’t plan out basic arguments that are one-dimensional. This may give you a pass in English, but won’t distinguish you as a top-scoring student.

For example:

• Paragraph 1: The children at TGA need love and recognition.
• Paragraph 2: Ida and Meyer need love and recognition
• Paragraph 3: Sister Penny needs love and recognition.

The above paragraphs merely agree with the statement, but don’t delve into the many aspects of the novel that could contribute to a sophisticated essay.

Do create complex arguments, or paragraphs with a twist! If you can justify your argument and it makes sense, include it in your essay. There are many ways that you could answer this question, but my plan looks like this:

• Paragraph 1: Frank Gold yearns for mature, adult love, not recognition from onlookers or outsiders
• Paragraph 2: Ida Gold does not seek recognition from Australia, but love and validation from herself
• Paragraph 3: Albert requires love from a specific kind of relationship – family, and Sullivan may view love from his father as pity which he rebukes

See the difference?

The introduction:

How to start your essay off with a bang.

Personally, I always struggled with starting an introduction. The examiners will be reading and marking thousands of essays, so if possible, starting your introduction with something other than Joan London’s ‘The Golden Age’… is a great way to make you stand out from the crowd. Having a strong start is essential to pave the way for a clear and concise essay. You could start with a quote/scene from the text! This is not essential, but it’s a great way to mix things up. This is my start:

Perhaps nothing exemplifies the power of love and recognition more than the bond between Albert Sutton and his older sister, Lizzie, in Joan London’s ‘The Golden Age’. Many of London’s characters exhibit suffering that requires compassion and support to heal and grow, to distinguish present from past. However, London explores the perspectives of such characters from different aspects of trauma, and emphasise that love and recognition do not always work to heal and mature. Frank Gold, the novel’s resident “sneaky” boy who adjusts to newfound life in the Golden Age Convalescent Home seeks love as an adult, rather than eliciting sympathy as a supposed victim. Here love and recognition are unsuccessful in amending Frank’s troubles when given from the perspective of an outsider, a judgemental onlooker. In a similar sense, Ida Gold seeks recognition not from Australia, who she views as a ‘backwater’, but validation in herself after having been ousted from her Hungarian identity. London, however, makes sure to emphasise the impact that Sullivan has on Frank Gold’s life. Sullivan, a boy only a few years older than Frank, seems content with his future, with his fate, despite his sacrifice of rugby and conventional life.  There is a lacking sense of urgency for love and recognition in Sullivan’s life, rather, it appears that Sullivan accepts his fate, regardless of his father’s sympathy or support. Thus, London explores a myriad of ways in which love and recognition may or may not heal wounds inflicted upon individuals.

Remember, there are many other ways you could start your essay.

The body paragraphs: To TEEL or not to TEEL?

I’m sure you’ve heard of TEEL countless times since year 7. Topic sentence, evidence, explanation, link. The truth is that these elements are all very important in a body paragraph. However, following a rigid structure will render your essay bland and repetitive. It is also extremely important to note that you should be using evidence from multiple points in the text , and you should be making sure that your paragraphs are directly answering the question . Write what feels natural to you, and most importantly, don’t abuse a thesaurus . If you can’t read your essay without rummaging for a dictionary every second sentence, you should rewrite it.  If vocabulary isn’t your strong point (it definitely isn’t mine!), focus on clean sentence structure and solid arguments. There’s nothing worse than you using a fancy word incorrectly.

Don’t overuse your thesaurus in an attempt to sound sophisticated, and don’t use the same structure for every sentence. For example:

Prematurely in the paperback London makes an allusion to Norm White, the denizen horticulturalist of The Golden Age Convalescent Home…

That was an exaggerated example generated by searching for synonyms. As you can see, it sounds silly, and some of the words don’t even make sense. I mean, “denizen horticulturalist”…really?

Do mix up your paragraph structure! If vocabulary is your weak point, focus on clean language.

Here’s mine:

Early in the novel, London makes reference to Norm White, the resident groundskeeper of The Golden Age Convalescent Home. Norm White hands Frank Gold a cigarette, “as if to say a man has the right to smoke in peace”. Here, there is a complete disregard for rule and convention, an idea that London emphasises throughout the text. This feature provides a counter-cultural experience for Frank, pushing him to realise that he is a strong human being rather than a mere victim. This is a clear contrast to the “babyishness” of the home, and is used as evidence of true humanity in an era where society judged upon the unconventional. Frank yearns for a traditional Australian life after his trauma in Hungary; “his own memory…lodged like an attic in the front part of his brain”. Hedwiga and Julia Marai’s caring of him pushed him towards fear and reluctance to trust, yet also pressured him to seek acceptance in a world that ostracises him for his Jewish heritage and polio diagnosis. This here is why Frank desires a mature, adult connection – love that regards him as an equal human being. Frank seeks Elsa’s love and company as she too loathes being reduced to a victim, an object of pity. Frank thereafter uses humour to joke of his wounds; “we Jews have to be on the lookout”. Elsa sees “a look in his eyes that she recognised”, thus their bond enables both characters to heal. London alludes that Frank requires love and recognition not from the perspective of a sorrowful onlooker, rather he longs to be recognised as a mature adult.

To learn more about using the right vocabulary, read 'Why using big words in VCE essays can make you look dumber'.

The conclusion: closing the deal

I firmly believe in short and sharp conclusions. Your body paragraphs should be thoroughly explaining your paragraphs, so don’t include any new information here. A few sentences is enough. Once again, write what feels natural, and what flows well.

Don’t drag out your conclusion. Short and concise is the key to finishing well.

Do write a sharp finish! Sentence starters such as, “Ultimately…” or “Thus, London…” are great.

Although trauma is often treated with love and compassion, London details different perspectives on this idea. Whilst Frank Gold requires a specific kind of recognition, Ida and Meyer seek validation in themselves and their relationship, whilst Sullivan is at ease with his fate and does not yearn sympathy from his father.

‍ To learn more about A+ essays, you should also have a read of 10 easy English points you're missing out on .

I'll finish off by giving you an exercise: brainstorm and write up a plan for the essay topic shown in the video below. I'd recommend you do this before watching Lisa's brainstorm and plan. That way, you can see which of your ideas overlapped, but also potentially see which ideas you may have missed out on. Good luck!

1. Summary 2. What Is Magical Realism? 3. Themes 4. Symbols and Analysis 5. Quotes 6. Sample Essay Topics 7. Essay Topic Breakdown

Flames is a bit of an out-there story right from the beginning: Levi is attempting to build a coffin for his sister Charlotte because the women in their family come back to life after dying. Neither of them is that close to dying - both are young adults. Charlotte doesn’t really want a coffin so she runs away from home, as far as she can while still remaining in Tasmania at least, and Robbie Arnott takes us on this adventure through interweaving perspectives and rich imagery of his home island .

Some of these perspectives are surprising and unexpected, ranging from a hardcore private investigator to a river god in the form of a water rat, but each of them earns their place in the story. Our job when studying this text is to follow these shifts in perspectives and make sense of how they contribute to the overall text. If you’re writing creatively, you may want to play around with this sort of structure as well in your piece.

2. What Is Magical Realism?

Before we get stuck into the text itself, it might be useful to first discuss its genre . Magical realism books tend to be extremely confusing if you’re not familiar with the genre (and sometimes even when you are!). This is because authors in this genre will typically set their stories in the real world (in this case, in Tasmania), but they’ll add supernatural elements , which vary wildly from story to story.

Let’s unpack the genre a bit more, in particular, what it involves and why it’s used.

Elements of Magical Realism

The most important element of magical realism is that it blends the real world with fantastical elements . In Flames , the most obvious example is gods : gods don’t exist as far as we know, but they walk among humans and play key roles in this text. Less obvious examples of fantastical elements include the wombat farm at Melaleuca (fortunately nobody actually skins wombats) as well as the Oneblood tuna and (unfortunately!) the pet seals.

The fact that these examples are narrated as perfectly normal is another element of magical realism: the author usually operates as if the fantastical elements are perfectly real. We, as readers, enter a world where the existence of these magical things is taken for granted by the characters.

Purpose of Magical Realism

This blurring of the lines between real and magical is primarily supposed to suspend our disbelief : we can’t really be sure what’s real about the novel’s world and what isn’t. All we know is that in many respects, it looks like our own. Within this familiar setting, Arnott lets his own imagination run wild and leaves the reader to figure out the rest. This helps to create a sense of wonder , as if these elements could be real and as magical as described.

These elements also contribute to the story in other ways: in particular, they open up new possibilities for commentary . For example, the voice of the South Esk god is used to highlight the impacts of colonialism and the “blood-tasting tang of iron” that was brought with it.

Other Magical Realism Books

If you’re liking the sound of this genre and/or if you enjoyed Flames , there’s plenty more to discover in the way of magical realism. It’s a hallmark of Latin American literature (Isabel Allende, Gabriel García Márquez), and it’s also been picked up in Japan by the likes of Haruki Murakami. A prominent Australian example is Carpentaria by Alexis Wright.

Death and Grief

Let’s move more closely into Flames , starting with its central theme of death and grief. It’s what defines this central point of tension between Levi and Charlotte throughout the novel, since it starts with their divergent responses to their mother’s death (and reincarnation etc.). Their divergent responses suggest that there’s no one way to cope with death, and their father’s reaction on top of that introduces further complexity: he disappears from their lives altogether, “not want[ing] to be close to them when they [died]”. Between the three of them, there are three very different expressions of grief .

But Edith McAllister is not the only death of significance in the novel. Another standout is the passing of Karl’s seal , after which he becomes haunted by “clicks”; he subsequently leaves tuna-hunting behind. The death of the South Esk god is also explored as causing grief, this time in the form of divine emotional outpouring, “a cloud’s sorrow”. Arnott is thus exploring many processes of grieving, from solitude and callousness to physical and emotional labour.

Family Relationships

Outside of these moments of grieving, Arnott explores the background relationships between family members as well. Again, Levi and Charlotte are central to this. As siblings , they don’t always see eye to eye: “Levi and I have never understood each other”. However, that does not diminish their love for each other, particularly as they were left alone after their mother’s death. Their father Jack again makes this dynamic more complicated: he sees an “unbridgeable gap” between himself and Levi for example, but the omniscient third-person narrator in that chapter knows otherwise. Consider what difference it makes when Arnott writes in first person from within these relationships (as he does with Charlotte) versus when he writes in third person , observing from outside.

We also see interesting relationships between Karl and his daughter Nicola. Unlike the McAllisters, the two of them are remarkably close despite his ongoing grief for his seal: “nothing could match the blaze of love in her father’s smile”.

Romantic Relationships

Nicola crops up again under this theme, as she begins to navigate a relationship with Charlotte. In a book review for The Guardian , Sam Jordison argues that this is a bit trite, but we can think of it as one perspective on how relationships begin : organically and sincerely, and out of a desire to protect someone else. By contrast, the start of Jack and Edith’s relationship was founded on something more artificial and manipulative, a “tiny spark” which he ignited in her mind.

This is bookended with romantic relationships that have come to an end , as explored through the eyes of the private investigator: her and her ex-husband, Graham Malik, have settled into something of an “ecosystem”. With these various beginnings and endings, Arnott shows how it can be natural - or supernatural - to fall in and out of love.

Colonisation

Finally, this novel touches on the impacts of colonisation . It’s a few quiet allusions here and there, but they are important: Arnott acknowledges the impact of colonisation on the natural landscape of his birthplace. He does this firstly through the eyes of the South Esk god, who observes the “foul industries” of the “loud, pale apes” when they first arrived on palawa and pakana land, the land we now know as Tasmania.

Arnott also explores colonisation through the eyes of Jack, who experiences racism when taking on the human form of an Aboriginal person. He wanted to learn more about how European colonisers were using fire, but he found “they reacted poorly to his dark appearance”. Meanwhile, First Nations people in Tasmania were being “hunted in their own homeland”, and he chooses not to intervene.

As immortal outside observers, their perspectives are the only ones in the novel that can really trace this history. Arnott might be including them so readers take his descriptions of nature with a grain of salt: even as we appreciate Australia’s beautiful landscape, it’s worth acknowledging its custodians who have kept it that way for tens of thousands of years.

4. Symbols & Analysis

Supernatural creatures.

We’ve traced the major purposes of these deities already, but to reiterate them here these ‘gods’ symbolise different parts of nature and the wonder Arnott derives from them. Although nature is already alive, these figures help it feel even more so. They also serve the important purpose of highlighting and acknowledging Tasmania’s colonial history , as well as the disconnect between humankind and nature .

The one natural element worth discussing as its own symbol is water. There are many bodies of water identified in the novel, from rivers and lakes to the ocean , and they each have their own significance. For example, rivers connect parts of the natural landscape while lakes (particularly Crater Lake) represent a getaway, solace, solitude and peace.

The ocean is the most complex of these symbols though: it’s all around the island of Tasmania, and it appears to be a vicious and unforgiving place filled with orcas and tunas the size of “mountains”. But it’s also a place that brings calm to Edith and Charlotte, and even Levi as a child. Arnott canvasses all of these different relationships to nature through the different manifestations of water. Water even exists as rain , which in the novel’s denouement represents a new beginning, a washing away of past tensions and conflicts.

• “My sister is struggling to cope with the loss…I cannot allow her pain to continue.”
• “They (Levi and Jack) were so alike” 
• “The tears were flames, and they were coming from within Charlotte.”
• “Levi and I have never understood each other” 
• “Some wore fur and feathers and watched over the creatures they resembled… Some, like a blood-hungry bird spirit he encountered deep in the southwest, were cruel. Most were calm, seeking only to care for the creatures and land that they felt drawn closest to.”
• “He (the South Esk god) continued on, soothing his rage in a simple, humble way - by nipping screws out of the hull of an idle jetski”
• “Living with humans did not work”

6. Sample Essay Topics

• More than anything else, Flames illustrates the importance of family. Discuss.
• Levi McAllister is the hero of Flames . Do you agree?

How does genre contribute to the storytelling effect of Flames ?

• What is the effect of shifting narrative perspectives as used in Flames ?
• “I could have spoken to him but he would not have listened.” What does Arnott say around family? 

7. Essay Topic Breakdown

Step 1: analyse.

When talking about the genre of this text, we’ll definitely need to discuss magical realism . The question here is about how magical realism enriches or contributes to the story, so it might be worth breaking down the elements of magical realism and thinking through each of them one-by-one. The fact that this prompt is framed as a ‘how’ question (one of the 5 types of essay questions ) also means we’ll have to bring in Arnott and how he chooses to tell the story.

One magical realism element Arnott adopts is the gods, who play a few roles symbolically in the novel, but there are other elements too: the seals, the flames, the cormorants and so on. Do these elements add as much as the gods, and if so, what are they adding?

Consider also not just the elements as they appear, but also how Arnott is treating them . The fact that a lot of them are taken for granted as perfectly normal is in itself another genre element.

Instead of talking about the elements too disparately or separately, I think a lot of them revolve around this central question of how humans relate to the earth and to one another . This will help connect my ideas to one another.

Paragraph 1 : Elements of magical realism show how humans adversely impact nature

• Nature is a huge part of the story: around the island, we see everything from beaches and rivers to “undulating moorlands of peat and buttongrass”. Sometimes, these elements are personified as deities (e.g. South Esk god) – this is where genre comes in, since these deities are supernatural or ‘magical’, though they are written to exist in our world.
• These voices, made possible by magical realism, highlight the impact of human industry on the environment: for example the “blood-tasting tang of iron” that seeps into Tasmania’s waterways.
• Even Jack and Edith’s relationship could be seen as a metaphorical take on our incompatibility with nature: “living with humans did not work”.

Paragraph 2 : At the same time, not all humans contribute equally to this pollution, and magical elements also facilitate commentary on this perspective

• Before European colonisers arrived in Australia, the land had been tended to by the First Nations peoples for over 60,000 years - and pollution had been minimal. We cannot blame the entire human race equally for the deteriorating natural environment (see this Instagram post for an explanation!).
• This is pointed out by the South Esk god: it is the “pale apes” who are trying to “swamp[] over everything”.
• Jack, the deity of flame, also recognises this, although he is far more complicit: “he liked learning from the pale people more than he wanted to help” Aboriginal people.
• Magical realism adds this historical and political dimension to the narrative.

Paragraph 3 : However, Arnott’s use of magical realism also shows possibilities for ‘ideal’ relationships between humans, and between humans and nature

• This paragraph gets to draw on some examples that aren’t just the deities: the seals for example coexist really poetically with humans, “the half of themselves they had been born without” (these were inspired by dogs , by the way).
• Plus, even though Jack and Edith’s relationship was founded on a lie, Arnott is able to use that as a point of contrast for the relationship between Charlotte and Nicola, born from Nicola’s “desire to help”, plus her “fast and firm” attraction to Charlotte. This relationship is highly organic, and the ‘magical’ relationship between Charlotte’s parents proves a useful foil.
• Even though some textual elements are exaggerated because of genre, Arnott still manages to use magical realism to highlight what might be possible , inviting the reader to imagine possibilities for harmony between people and nature within their own worlds.

Flames 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 .

Whether you revel in the ideas and intricacies of poetry or could not think of anything more monotonous to read, grab a tea (or coffee if it’s one of those nights), your favourite late-night snack, and prepare to be amazed by just how simple it is to absolutely NAIL a poetry essay.

Don’t worry, I know that same overwhelming feeling when poetry can seem as if it’s not even in English, but I can ensure you, learning how to write a poetry essay is like learning to ride a bike…. Once you wrap your head around it you’ll be cruising!

To make these tips even more practical, we’ll be focusing on John Donne’s poetry in relation to the topic below: ‍

‘Donne’s poetry explores the many aspects of human experience.’ Discuss.

‍ 1. Start off with a bang!

I’m sure you’ve heard it before… your introduction sets the tone for your essay and this could not be more true. A shallow introduction is like missing the start of your running race, or even worse arriving at a party just before it ends! You’ll just have so much catching up to do! Without being overly hyperbolic, here are a four essential tips that will ensure your assessor sees you as a high-scoring student right from your first sentence.

- Answer the question in your first sentence (even if it is in a broad manner) and always link back to the essay topic – this will show the assessor that you are answering the question given rather than presenting them with a sneaky memorised essay!

- Utilise the right terminology when outlining the type of poet and era they wrote in (i.e. metaphysical poet, Renaissance era, during the reign of Queen Elizabeth)

‍ - Outline the main poetic techniques for which the poet is known for (i.e. playful wit, rich imagery, language, challenging intellectual argument) as well as the ideas and values they endorse (i.e. elevation of reciprocal love, belief in the resurrection of Christ, celebration of eternal life)

- Wow your assessor with unique vocab (i.e. illuminate, emanate, meditate)

And here’s a sample introduction to help you even more:

John Donne’s anthology, “Selected Poetry” illuminates the human condition and thus provides much commentary on life and death. A metaphysical poet of the Renaissance era, Donne combines a playful wit, rich imagery, and perhaps most importantly language, to challenge intellectual argument and celebrate various aspects of sexual desire, mutuality and faith. Immersed in the Christian traditions of his time, Donne’s exploration of Death emanates from the Elizabethan acute awareness of the brevity and vanity of human life; however, with his sensual elevation of reciprocal love and his deep spiritual belief in the resurrection of Christ, Donne meditates upon his belief and celebration of eternal life.

2. Strong topic sentences are Crucial (with a capital C)

Time and time again students fall into one of two traps. They either try to start each paragraph with a lengthy (and often beautiful) phrase trying to encapsulate every idea they plan to introduce in the paragraph. Or on other occasions, they have no introductory sentence and instead launch straight into their poetry analysis. Your assessor may be blown away with your A+ worthy introduction and then reach this weak opening to your paragraph and have to reconsider! Your topic sentence is the frame for the whole paragraph so please, keep it clear, succinct, and relevant to the essay question.

Here are three ‘DOs’ and ‘DON’Ts’ to consider when crafting one of the most important sentences of your essay (again, sorry about the drama!)

- DON’T mention the poem you will use as evidence in your topic sentence

- DO answer and link directly to the essay topic

- DO use linking words to link the ideas in different paragraphs

And here are three STRONG topic sentences for each paragraph of this essay (note how I always link back to the topic of human experiences and link ideas between paragraphs)

- Rewriting the conventional trope, Donne’s oeuvre explores the joy of erotic love and ones’ lustful desire to engage in these sexual experiences.

- While much of Donne’s oeuvre comments on the pleasure of carnal experiences, his more harmonious poems reveal the beauty of relationships in which one can experience a deep sense of mutuality and stability.

- Silhouetted against the backdrop of the Elizabethan reign, Donne’s more metaphysical poems demonstrate the struggle of the process of dying and individual corruption, and the manner in which it leads to the acquirement of God’s love and grace.

3. Organise paragraphs by IDEAS

What makes a poetry essay so unique is that your paragraphs are based on broad ideas rather than the motifs and behaviours of characters in novels. This means that when planning your essay you must ensure that each paragraph has only one idea and that each paragraph is based on a different idea. From there you can work out which poems best represent each concept to work out which poems you will use for each paragraph. This is why I love poetry essays as planning for them is so easy! All you have to do is think of three or four different ideas for the essay topic and then find your textual evidence by working out which poems best reflect these ideas…. Simple! Right?

Here are the three ideas that I plan to discuss in each of my paragraphs of this essay as well as the poems I would use:

- Sexual/physical human experiences

- ‘Elegy 19: To His Mistress Going to Bed’ & ‘The Flea’

- Mutuality and reciprocity as an experience/element of spiritual love

- ‘A Valediction: Forbidding Mourning’

- The innately human experience of dying and being embraced by God in heaven

- ‘Hymn to God My God in My Sickness’ ‍

4. Analyse, not summarise

If there was one thing that was playing in my head over and over while writing a poetry essay it was ‘analyse, not summarise’. It is so easy to fall into the trap of simply summarising the poetic techniques and language of the different poems rather than analysing their meaning and linking this directly to the essay question. Even if you have the best plan and ideas going for you, if an assessor notices you going into summary mode they’ll assume you’re just rewriting a memorised essay rather then answering the exact essay question given…. DISASTROUS! To prevent this utter catastrophe, I urge you to please, link to and answer the specific essay topic EVERYTIME you introduce a new poetic technique/piece of evidence. Verbs such as demonstrates, elucidates, illustrates, exemplifies, illuminates and augments are ‘must haves’ in your poetry tool-box as they will ensure that you are analysing not summarising.

Here is a sample paragraph for you to consider (notice how I always link back to the idea of mutual/reciprocal love and experiences every time I introduce a new poetic technique or quote)

While much of Donne’s oeuvre comments on the pleasure of carnal experiences, his more harmonious poems reveal the beauty of relationships in which one can experience a deep sense of mutuality and stability. The poem, ‘’A Valediction: Forbidding Mourning’’ explores the sense of security and harmony which spiritual love and experiences permit. Adopting a hush, reverent tone manifested by the use of sibilance, through the enjambment of the phrase ‘’Dull sublunary lovers love, / (Whose soul is sense) cannot admit / Absence’’, Donne elevates mutual love to a higher plane, one that transcends the lines of poetry. When accompanied by the stability of the ABAB rhyme scheme that works to echo the couple’s settled love, this presents the experience of reciprocity and mutuality of love to be higher than the dull and earthbound nature of love that is solely physical. Hence, Donne reveals the bliss that mutual love permits mankind, given it eclipses the desire for any form of physicality. Further elucidating the strength of mutual love, Donne illuminates how when couples are separated it is ‘’not yet a breach, but an expansion’’, thus celebrating the manner in which deep, reciprocal love not only eclipses the divisions of the clock but how it expands ‘’like gold to airy thinness beat’’ when separated. By connoting spiritual love to the pure and malleable nature of gold, this simile characterizes mutual love to be the prime of human experiences and relationships. Intertwining the elegant conceit of a compass to represent the love that connects the speaker and his mistress, Donne garners the notion that no matter how far ‘’one doth roam’’ the intellectual bond between the couple will remain ‘’firm’’ and enable the pair to overcome any form of physical separation. Hence, Donne illuminates  the complex and impermeable bond that this serene form of human experience can foster.

‍ 5. Vocab and metalanguage are the easiest ways to SHINE

To say it plainly, writing with unique and refreshing vocabulary is enough to send your grade SOARING. It will not only render your ideas and discussion ever more complex, but has the power to enlighten and stimulate your assessor (and this is something we all want to do… right?). Utilising the correct poetic metalanguage every time you introduce a new quote or line of poetry will ensure that your analysis remains both specific and detailed. As seen in the paragraph above, discussing the poetic techniques provided me with another form of evidence (rather than just the quotes from the poem) to elucidate how these different forms of human experience are illustrated in each of Donne’s poems.

To assist you further, here is some metalanguage for the poetic techniques and structures that frequent John Donne’s poetry:

- Sibilance, alliteration, imagery, paradox, conceit, metaphor, simile, personification, rhyme structure, tone, volta, enjambment, metre (i.e. iambic pentameter, trochaic tetrameter), monosyllabic phrasing

- Stanza, verse, quatrain, cinquain

6. Finish with a jaw-dropping conclusion

A mediocre conclusion is like leaving your assessor with an unpleasant aftertaste that unfortunately, will not go away. So please, finally give your conclusion the attention it deserves and follow these five tips to ensure you leave your assessor waiting for that mic to drop!

- Pan out to the broad, abstract ideas that the poet wrestled with

- Discuss the aspects of the poet that set them apart from other poets at the time (i.e. for John Donne that is his intellectual imagery, arresting voice, wit, fusion of passion and logic and the manner in which he challenged intellectual argument and strongly held societal conventions)

- Short and sweet not long and wordy!

- Reinforce the period and society in which the poet wrote

- You can include a secondary quote if you want, however only if it relevant to the essay topic and ideas you discussed

Here is a sample conclusion to assist you:

Railing against the societal value of religion prominent during the reign of Queen Elizabeth, the originality of Donne’s ideas about love, death and God along with his strikingly intellectual imagery and rich language incite and interest his more religious readership of the joys of sexual, mutual and religious experiences. The poet and playwright Ben Jonson once wrote that John Donne ‘’was the first poet in the world in some things.’’ Hence, it is through his witty and authentic form of expression that Donne allows us to reflect on and celebrate precisely what it means to be human.

Passage 1: Act 1 Scene 3

   [Aside] Two truths are told,

   As happy prologues to the swelling act

   Of the imperial theme.--I thank you, gentlemen.

[Aside] This supernatural soliciting

   Cannot be ill, cannot be good: if ill,

   Why hath it given me earnest of success,

   Commencing in a truth? I am thane of Cawdor:

   If good, why do I yield to that suggestion

   Whose horrid image doth unfix my hair

   And make my seated heart knock at my ribs,

   Against the use of nature? Present fears

   Are less than horrible imaginings:

   My thought, whose murder yet is but fantastical,  

   Shakes so my single state of man that function

   Is smother'd in surmise, and nothing is

   But what is not.

Passage One from Act 1 Scene 3 takes place just after Macbeth has just been announced as Thane of Cawdor proving part of the Witches’ prophecy true “All hail Macbeth…Thane of Cawdor…/that shalt be king hereafter.” This part of the play is the first insight we have on Macbeth’s inner thoughts.  

Macbeth’s firm and thoughtful tone in the opening alliteration “two truths are told ” stresses how serious he takes the Witches’ predictions. Shakespeare presents this passage as a soliloquy in order to convey Macbeth’s true inner thoughts and motives. As this is Macbeth’s first soliloquy, it emphasises the strong possibility of Macbeth heading down a dark journey as he cannot forget the Witches’ predictions “(it) cannot be ill, cannot be good. If ill, / Why hath it given me earnest of success, Commencing in a truth?”

Shakespeare uses the metaphor of theatre for fate . The meta-theatrical reference, ‘as happy prologues to the swelling act’ makes the audience consider the action that will unfold in the following scenes through foreshadowing.

Macbeth feels that committing regicide will be a “supernatural soliciting”. The word “supernatural” demonstrates that Macbeth acknowledges that such an act is “against the use of nature.” It suggests that if Macbeth kills Duncan, he will forever be trapped in the supernatural world for his dishonourable action. The alliteration of “supernatural soliciting” sounds incredibly seductive, and therefore highlights Macbeth’s lust and thirst for the crown.

There is a physiological response to his unnerving thoughts as the ‘horrid image doth unfix my hair’ and ‘my seated heart knock at my ribs’ , emphasising the horror of Macbeth has with himself  at his thoughts.

The personification “my seated heart knock at my ribs” once again depicts the increasing fear that Macbeth experiences as his heart is not “seated” with its connotations of calmness and steadiness but “knock(ing)” which is associated with alarming fear.

As Macbeth struggles with his conscience and fears “my thought, whose murder yet is but fantastical,/ Shakes so my single state of man,”  he is uncertain whether or not he should take the prophecy into his own hands and murder Duncan or, let time decide his fate “time and the hour runs through the roughest day”. The consonance ’s’, Shakes so my single state of man”.. ‍

The alliteration “smothered in surmise” demonstrates how Macbeth’s vivid imagination causes him to struggle with fear and hesitate undergoing the action that is foreseen by him as a “horrid image.” These mental images are of significance throughout the play as it is evident that Macbeth’ conscience results in him “seeing” a dagger and also Banquo’s ghost.

The antithesis “and nothing is,/ But what is not” is deliberately broken up into two lines to demonstrate the ambiguity of Macbeth’s thoughts and the confusion which evidently contributes to his overall fear. Macbeth’s actions become overpowered by his imagination until ‘nothing is but what is not’ or imagination carries more weight than action. The partial alliteration of ‘smother’d in surmise’ and the antithesis of ‘nothing is but what is not’ makes this notion seem again, particularly seductive to the audience. The word ‘smother’d’ , with it’s connotations of oppression, further amplifies the notion and even suggests that Macbeth’s imagination takes the place of his will.

For a detailed guide on Comparative, check out our Ultimate Guide to VCE Comparative.

[Modified Video Transcription]

In a previous video , we covered some of the themes found in both The 7 Stages of Grieving and The Longest Memory. I’d recommend that you watch that video first (or read it’s accompanying blog post if you prefer reading) because once you know some of the themes, you can get even more out of this video. In this video, we’ll be looking at a scene each from both The 7 Stages of Grieving and The Longest Memory , and trying to compare them a little bit. 

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and exploring how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. 

The Play ( The 7 Stages of Grieving )

‍ Let’s go to scene 14 of the play - this should be the report of Daniel Yocke’s death in police custody. The woman recounts his death in a factual, impersonal style as if reading from a court report. She describes how the police pursued and arrested Yocke after he went out drinking with a group of friends, and how he was detained and taken to the watchhouse. He arrives without a pulse, but the report doesn’t go into detail about how that happened between his arrest and his arrival. The woman breaks into bursts of emotion toward the end of the scene.

While most of the play deals with issues that are universal and timeless for First Nations peoples, this scene looks at a specific real event . However, this doesn’t mean that this scene isn’t timeless - First Nations deaths in custody are still a major issue for which no police officer has been held legally accountable - but this scene chooses just one example out of several hundred. 

The emotionally detached tone makes the situation feel serious, but in a way, that distances us and the woman from the brutality and the violence of what must’ve happened. After all, how exactly was Yocke dead upon arriving at the watchhouse? How badly must the police have mishandled him for that to have happened? Along the way, there are little outbursts of emotion (like the little outburst of ‘people called him Boonie!’) and these remind us that the detachment belies the true significance of what happened - the needless loss of yet another Aboriginal person’s life. 

This has been such a persistent problem in our history - this scene happened in 1993, but even in today’s time we’re still dealing with the same problem. The institution of policing has been unaccountable and violent for decades, at least, and something desperately needs to change. 

The Novel ( The Longest Memory )

‍ Let’s go to the novel now and look at Chapter 6: Plantation Owners.

In this chapter, Mr. Whitechapel is talking to his peers about Chapel’s death in this clubhouse that his father had built for his own peers. Mr. Whitechapel is initially nervous that they’ll make fun of him, and they kind of do - they point out how hypocritical it is for him to think that he can treat the people he’s enslaved with humanity, and to stick to this argument even after Chapel had been whipped to death. At some point in this banter, he realises this physical violence is unjust and starts proposing ‘another way to organise the economy’ that isn’t slavery, but this draws even more mockery. He ultimately leaves feeling a little more convinced by the perspectives of his peers.

What does this chapter tell us, and how is it similar to the scene from the play?

Well, in both scenes, white men get away with murdering a Black man, and it comes down to socio-economic and institutional power. In this chapter, Mr. Whitechapel and his fellow enslavers all inherit significant wealth and extremely prejudiced attitudes from their fathers, and this creates not only pressure, but also a financial incentive, to conform to the system of slavery. He touches on the possibility of abolition, but this is seen as impossible - certainly, none of these men want to lose their power. 

Looking more closely at this chapter, we also see how Mr. Whitechapel is exactly the hypocrite that everybody says he is - it’s ridiculous for him to pretend he’s treating black people fairly when they are dying under his watch. He says he’s feeding enslaved workers adequately and treating them with respect, but none of this is actually going to protect them from violence, and none of this is going to level the playing field so that white enslavers are held accountable. Ultimately, Mr. Whitechapel isn’t seriously interested in making substantive changes to slavery in the name of morality; he is simply trying to save face. 

I’ve chosen these two scenes because they both illustrate the dynamics of race and power which pervade both texts, but these two scenes might not be the first ones that come to your mind as a pair that you can analyse together, and that’s totally fine! I encourage you to find your own scenes to compare because that’s what makes English powerful. If you, as a unique student, can compare two scenes that nobody else has compared, that’s going to give you an extra edge because you’re more likely to say something original. 

If you’re interested in finding more unique ways to compare these two texts, I’d recommend LSG’s The 7 Stages of Grieving & The Longest Memory study guide. I know there aren’t many resources out there for this text pairing, so what we’ve done at LSG is work really hard at ensuring that all the information in this study guide will actually be beneficial for you. We’re not here just to make you read more guides - we’ve really thought about what would be meaningful for you as a student learning this pairing. That’s why you’ll see that I’ve used some of the ideas mentioned in this video and turned them into an A+ essay, so you can see exactly how knowing this information translates into your SAC/exam.

There’s a free sample of the study guide you can check out to see if it’s right for you!

Charlie’s Country  is an Australian drama film directed by Rolf de Heer, starring David Gulpilil. The linear film, co-written by de Heer and Gulpilil, tells the story of Charlie, a middle-aged Aboriginal man living in the town of Ramingining. The audience follows Charlie as he sets off to reconnect with his Indigenous origins; choosing to abandon urbanised society, Charlie flees into the bush to live by his “Mother country”. Much to his demise, Charlie subsequently becomes ill and is admitted to hospital in Darwin. After discharging himself from the hospital, Charlie is quickly arrested for assaulting a policeman. Charlie serves time in prison for his crime and the film’s final scenes show Charlie, free and mentoring young Aboriginal boys in their native cultural traditions. As the audience follows Charlie’s everyday encounters, they gain insight into the harsh realities faced by Aboriginals in modern-day Australia. Through his individual plight for survival amidst illness and poverty, de Heer presents profound political commentaries on this very pertinent social issue, spanning decades in Australian history.

The film's critical acclaim upon its release in 2013 was the impetus in prompting conversations and debates about the politics of Indigenous Australians. De Heer’s depiction of this remote community grappling with issues as a result of government-imposed law serves to capture the oppression and deeply ingrained racism that continues to persist.

Tracks  is one Australian woman’s survival narrative. The 1980 autobiographical memoir by Robyn Davidson, recounts her courageous 1700 miles trek across Australia, beginning from Central Australia towards the Indian ocean. In the effort to escape the monotony of her daily life, Davidson travels to her first destination -- Alice Springs -- in 1973 to start preparations. In the 2 years she spends there, she learns how to train camels and live minimally, the former proving to be a challenge. Despite her vehement will to refuse any kind of donation or financial help, Davidson eventually accepts a writing deal in partnership with National Geographic, providing the much-needed funds to confirm her departure. It's through this deal that she meets Rick Smolan, whom under the conditions of her deal has been recruited to photograph this journey - an unsettling compromise for Davidson which she ruminates on frequently in the novel. With her beloved dog Diggity and her camels, Davidson traverses the Australian landscape, discovering more about herself, her country and the people. 

Fundamentally, this book is as much about Davidson’s internal transformation and personal frontiers as it is about exposing the colonial and masculine ethos that permeates Australian history.

Themes (Similarities and Differences)

At LSG, we use the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out my How To Write A Killer Comparative . I use this strategy throughout my discussion of themes here and in a later section, Sample Essay Plan.

Isolation and Alienation

Charlie, drawing on Gulpilil's own experiences, becomes profoundly alienated from his Ramingining community to the extent where he serves no major function in the community life. Charlie is alienated both physically and figuratively, not only does he live in a makeshift hut on the outskirts of town, but he is separated from the Aboriginal community in this town and resents the fact that white Australians have assumed power over his land. He is evidently neglected from the wider society, which causes much of the internal and external conflict he experiences in the film, an ordeal which many within the Indigenous minorities can empathise with. 

In his efforts to escape his life within the confines of the intervention, Charlie sees isolation and social rebellion as a mechanism to rediscover his Indigenous roots, spending time in nature to fulfil his journey for self-discovery and to gain the freedom he’s lost. Removing himself from a town permeated by imperial powers provides him with an opportunity to restore his lost sense of self-autonomy. De Heer is intending to reveal the difficulty of assimilation for Aboriginal Australians. He also highlights the importance of human connection and relational harmony for individuals.

“Do you mind if I call you Charlie? I have difficulty pronouncing foreign names.” “Now I’m a foreigner?” (Charlie and the Darwin doctor) 

“It's isolated, it's remote.” (Policeman Luke on Ramingining)

“I work for them catching criminals, they don’t pay me.” (Charlie)

“I don’t know what’s wrong with him… shaming us.” (Pete on Charlie)

Robyn Davidson views complete isolation as a way to detach herself from the commercialism and expectations of modern-day Australia, to connect with nature and to challenge her own beliefs of herself. For her, complete solitude in this journey is a private and personal gesture designed to intentionally preserve the sanctity of the trip. While Rick Smolan’s company appears benign, Davidson’s abrasive attitude towards him as well as her reluctance in ‘selling’ her story is particularly revealing of her attempt to maintain the subjectivity of the trip. The act of breaching this solitude is what Davidson sees as an egregious debasement of the sacredness of the journey, allowing it to be objectified by the eyes of the public. In addition to this, isolation signifies liberation and freedom from a society laden with rigid expectations, Smolan acts as a constant reminder of these external responsibilities. Davidson experiences alienation from the wider society, being a confident, decisive woman trekking independently and defying the limitations imposed on her sex. She also repeatedly expresses her sense of alienation when entering Aboriginal communities and although she is sensitive to the impression she gives, she acknowledges her persistent feeling as an outsider. Davidson is aware of the divide between these two cultures that have resulted from a history of inequality and oppression. In  Tracks , Davidson also demonstrates the need for meaningful connections, however she sources this from her animal companions and nature.

“My aloneness was a treasure which I guarded like a jewel... but like everything [it] had to follow the laws of change.” (p. 40)

“No more loved ones to care about, no more ties, no more duties, no more people needing you to be one thing or another, no more conundrums, no more politics, just you and the desert baby.” (p. 94)

“I could never enter their reality, [I] would always be a whitefella tourist on the outside looking in.” (p. 146)

“I could not be with the Aboriginal people without being a clumsy intruder.” (p. 146)

Charlie’s displacement from his community is the driving force behind his decision to return to the Aboriginal way of life. De Heer uses this depiction of Charlie, to serve as a wider embodiment of the difficulty for the Indigenous people to assimilate and conform to the western lifestyle. After witnessing the limitations he faces under the ‘whitefella’ laws in Ramingining, it is Charlie who first attempts to escape his community. He repeatedly rejects the life of subordination and compliance under the government laws, which as shown in the film has forced many of the Indigenous people to neglect their own traditions and way of life (for example, they must now eat unhealthy fast foods to survive and go through school). Charlie’s individualistic expressions seen through crafting a spear and going hunting are actively suppressed by the white authority, leaving him to conclude that the only way to fully exercise his personal agency is to live in the Australian wilderness, alone. His act of abandoning the car with his belongings and parting with almost nothing in his possession is significant in demonstrating his defiance of the imposition of western culture and his journey for self-reliance. De Heer depicts how conforming to an oppressive society is detrimental and praises the self-transformative effects of embracing individualism rather than blindly conforming.

"Live the old way… …going to my Mother Country.’"(Charlie)

“F--- those thieving…white bastards.” (Charlie)

“The kids go to school now. They don’t care.” (Charlie)

“Why did you come here? From far away… stealing people’s stuff! Is this your land?... F---ing bastards.” (Charlie)

“I’m free now. I have my own supermarket! And this is my country! I can dance with it!” (Charlie)

Robyn Davidson’s decision to leave her normal life in Queensland to cross the Australian desertland is one that becomes the subject of much scrutiny and doubt. Her bold, dauntless approach towards pursuing this journey, specifically as a single, young woman was radically counter-cultural to the perception of women in the 1970s as delicate and docile individuals. Davidson’s indifference and somewhat dismissive attitude towards the derogatory remarks and reductive characterisations are indicative of her acknowledgement of the unjustified prejudice that permeates Australian culture. Additionally, Davidson’s assertive personality and commitment to travelling in the wilderness alone is ultimately an establishment to herself as an autonomous woman, rebelling against the traditional conventions of marriage, motherhood and domesticity that was previously expected of her. Ultimately, Davidson strongly asserts the need for resistance, particularly where there is the expectation for conformity, as well as her experience, is revealing of the cleansing and liberating feelings of embracing individualism rather than conforming.

“(Dropping eyes to chest level). "Where’s yer old man?" "I don't have an old man." (p. 5)

“I was self-protective, suspicious and defensive and I was also aggressively ready to pounce on anyone who looked like they might be going to give a hard time.” (p. 34)

“It was essential for me to develop beyond the archetypal female creature who from birth had been trained to be sweet, pliable, forgiving, compassionate and door-mattish.” (p. 34)

“I wanted to… unclog my brain of all extraneous debris, not be protected, to be stripped of all social crutches, not to be hampered by any outside interference.” (p. 91)

Belonging and Identity

The laconic and monotonous pace of the film is suggestive of a more deeply rooted issue surrounding the identity distortions experienced by Aboriginals, even to the present day. This depiction acts as a personification of the widespread troubles of Indigenous Australians -- the deep struggle between submitting to the institutions of the ‘whitefella’ intervention and clinging to what is left of their traditional heritage, often rendering them feeling separated from both cultures. The mundane nature of his daily activities conveys the social incongruence between Charlie’s struggle to live sufficiently as a ‘traditional’ elder or as a ‘modern’ Australian, finding himself disconnected from both. This internal battle is psychologically taxing for Charlie, as he encounters many contradictions: receiving welfare payments, only to have to give them away to his family, and so he goes without food and later becomes hungry, only to be denied the opportunity to hunt for his own food. Fulfilling one culture means rejecting the other, and freedom in one means rebellion in the other. Thus, Charlie sees social transgression as his only choice of refashioning his own identity. De Heer reveals how freely establishing a secure sense of identity and belonging in their culture is critical in the lives of these individuals, however, the long-term damage that western society has inflicted has made this almost impossible.

“You’ve got a job, and you’ve got a house…on my land. Where’s my house? Where’s my job?” (Charlie)

“We need to teach them… the traditional ways.” (Charlie’s friend) 

“I’ve been away fishing, now I’m home. I’m eating well. It’s my own supermarket.” (Charlie)

In  Tracks , Davidson’s attempt to escape the responsibilities and social pressures to immerse herself in nature is ultimately a journey of self-discovery; to define her own identity irrespective of the expectations imposed on her by the 1970s society. As a solitary female, challenging the restrictions of her sex and exposing herself to unpredictable surroundings, she can curate her own identity as a progressive, post-colonial feminist, seizing and capitalising on the autonomy she has. This endeavour allows Davidson to undergo a form of self-transformation, a search for meaning for herself and others, what she describes as a “desocializing process -- the sloughing of, like a snakeskin”. Furthermore, Davidson is determined to rediscover her place in respect to the desertland, educating herself about the native biodiversity and most importantly, the native people. Although Davidson recognises that she will always be considered a ‘whitefella’, she finds a sense of fulfilment and belonging in engaging with and observing the rural Aboriginal communities. She demonstrates a deep understanding of the distorted identity and loss of belonging for the Aborigines at the hands of imperial white forces and is sensitive to the damage that has been inflicted. Above all, Davidson gains a renewed, stable sense of identity and belonging through her resistance to the imperial Australian racist mentality, challenging the male-orientated culture. However, she is also confronted by the reality of this breakdown of identity within the Aboriginal communities.

“This was my first home, where I felt such a sense of relief and belonging that I needed nothing and no one.” (p. 40)

“From the day the thought came into my head ‘I’m going to enter a desert with camels’, to the day I felt the preparations to be completed, I had built some intangible but magical for myself…” (p. 95)

“I wanted to understand so much… I melted into a feeling of belonging. They were letting me into their world. They asked me if I wanted to dance.” (p. 145)

“Once dispossessed of this land, ceremonial life deteriorates, people lose their strength, meaning and identity.” (p. 167) ‍ ‍

Connection to Nature

The significance of nature to the Aboriginal people is at the core of this film. Charlie embodies this connection through his escape to the Australian wilderness. This first acts as a fresh alternative to the restrictive, repressive lifestyle within his government-intervened community, given. It's an opportunity to rebel against the western lifestyle and restore his traditional way of life, which leaves him feeling free, happy and powerful. However, his struggle to adjust to this change is indicative of the corruption of the intrinsic link between the people and the land. The harmonious, symbiotic relationship that the Indigenous people once had with the land has deteriorated; having been essentially poisoned through the introduction of a progressive white society. As much as Charlie tries to balance elements of both cultures by hunting and quitting smoking, it becomes apparent to him returning to where ‘[he] was born’, is the only way to rediscover his sense of self and truly experience freedom. Ultimately, like much of the wider Indigenous people, Charlie’s unable to fully abandon the constraints of white society and has become dependent. De Heer confronts the audience with the consequences of this irreversible separation through the illness and poverty that the Aboriginal people must endure.

“There’s lots of food in the bush… It's like a supermarket out there.” (Charlie’s companion)

“Then you’ll die in the wrong place… a long way from your country… They’ll be no one with you, no one to look after you.” (Charlie to a friend)

“I was born in the bush. They didn’t find me in the bush.” (Charlie)

“I want to go home now......back to my own country......where my place is...” (Charlie)

The connection to nature seen in  Tracks  serves several functions for Davidson. Contrary to the majority of attitudes of the time, Davidson can recognise the sanctity of the Australian land and is determined to learn about and experience this connection between the Aboriginal people and their environment. Like in  Charlie’s Country , Davidson’s encounter with the rural, minimalist Aboriginal communities is a distinct contrast to the urban society which she leaves behind. It’s a sobering reminder to Davidson of the persisting racism and colonialist mentality which pervades Australian history and confirms the serious consequences that have occurred from the loss of connection between land and people. Even further, her battle to survive and adapt to the unpredictability of the desert is the ultimate test of endurance, which Davidson acknowledges enables lasting self-transformation and consolidates to her the true majesty and reverence of nature. Therefore, this escapism into the desertland is Davidson’s own challenge for personal change and a chance to experience true liberation like Charlie, as well as finding peace with the natives by means of acknowledging the usurpation of their traditional land and rights.

“All around me was magnificence. Light, power, space and sun. And I was walking into it. I was going to let it make me or break me.” (p. 101)

“It is difficult to describe Australian desert ranges as their beauty is not just visual. They have an awesome grandeur that can fill you with exaltation or dread, and usually a combination of both.” (p. 122)

“Besides, no amount of anthropological detail can begin to convey Aboriginal feeling for their land. It is everything -- their law, their ethics, their reason for existence.” (p. 167)

“And just as Aborigines seem to be in perfect rapport with themselves and their country, so the embryonic beginnings of that rapport were happening to me.” (p. 193)

Author Views and Values

Aboriginal rights and the intervention.

Like in any comparison, it is important to understand some of the key events that were occurring at the time of both the text and the film. While  Tracks  and  Charlie Country  are set more than 3 decades apart, the issue of Aboriginal rights is still equally as important in both settings.

In  Tracks , the 1970-80s saw many progressive milestones in Aboriginal history. Just years prior to Davidson’s departure, Australians voted for change in the constitution officially recognising Aboriginal people in the national census. Later, 1976 saw the Aboriginal Land Rights Act, which allowed the Indigenous people to assume ownership of land that was acknowledged to be rightly theirs. Many of these legislative changes were indicative of a larger-scale shift in attitudes towards the fairer treatment of Aborigines. While the oppression and racism continued, it was individuals like Robyn Davidson who pioneered the way for greater change and equality. Davidson ultimately intends to highlight the devastation that has occurred to the Aboriginal people following colonisation and aims to shine the light on the persisting issues these individuals face in an ostensibly ‘post-colonial’ Australia.

• Despite some advancements of Indigenous rights in the 1970s, Davidson is firmly opposed to the ongoing racist attitudes held by white Australians.
• Davidson sympathises with the deep hardship endured by the Aboriginal people, which was characteristic of the evolving attitudes towards racial equality in 1970s Australia.

In addition to this, was the 2007 ‘intervention’.  Charlie’s Country  is set some years following the introduction of the Northern Territory National Emergency Response. Following reports of child sexual abuse and neglect, the Howard Government unleashed national forces to remote Indigenous communities in the effort to act as law enforcement and impose alcohol and drug restrictions. De Heer examines the consequences of what was described as a ‘last-ditch’ attempt to maintain power; an act that was widely criticised and showed to further exacerbate the suffering of the Indigenous people. Hence, de Heer’s film provides a personal insight into the difficulty of navigating life for Indigenous citizens as a result of the Intervention, and how Charlie’s struggles are representative of the anguish of the wider Aboriginal community.

• Drawing parallels with the time of 2007 Northern Territory Intervention, de Heer intends to reveal the identity distortions that Indigenous individuals suffered due to the enforcement of westernised laws.
• De Heer’s depiction of Charlie’s alienation from Ramingining was indicative of the wider Aboriginal population in the time following the 2007 Intervention, which saw the introduction of new restrictions into rural communities in the Northern Territory.

Women's rights in Australia

The 1970s was a critical time for women's rights in Australia. At this point in time, after the first wave enabled women to vote, the second wave of feminism was moving through the nation. Women all across Australia were now fervently advocating for their own autonomy and freedom in the workplace and at home; their efforts directed more to dismantle the rigid social structures and expectations that were demanded from them. Davidson is an avid proponent for this cause and demonstrates a tactful and astute understanding of her image as a white, middle-class woman. She openly reiterates her distaste for the sexist remarks and misogynistic caricatures she faces and is determined to confound the restrictions placed on her sex of being a domesticated and weak female. Overall, Davidson is promoting the principles of breaking through societal expectations, however, also reveals the many challenges she encounters in doing so.

• Davidson’s defiance of the traditional female image is indicative of the progressive attitudes regarding women's rights in 1970s Australia.
• Davidson’s embodiment of feminist ideas was synonymous to the 1970s second wave of feminism, where women in Australia were fighting for more freedoms at work and at home.

Comparing metalanguage and film techniques

It can be a bit daunting trying to compare techniques in a novel to those in a film. In this instance, it is crucial to first look at the idea you are comparing. For example, we can observe that both  Tracks  and  Charlie’s Country  show the liberating and cathartic feeling that comes from escaping social pressures. Now, let's look at  how  Robyn Davidson and Rolf de Heer achieve this, albeit in different manners. In  Tracks , Davidson uses  imagery  to describe the desertland she meets, when she says, “It is like a vast unattended communal garden, the closest thing to earthly paradise I can imagine”. De Heer communicates this premise of freedom, however, does this by featuring a variety of  diegetic sounds  of the biodiversity in which Charlie finds himself.

Another example is how intimacy with protagonists is edified. De Heer uses sustained, intimate close up shots and at many times breaks the fourth wall by having Gulpilil look directly at the camera. On the other hand, Davidson employs colloquial language and is liberal with her use of expletives in order to convey a casual, conversational mood between herself and the reader.

Other aspects to consider:

Anthropomorphism  in  Tracks  is   the act of attributing human traits or behaviours to a god, animal or object. Davidson’s use of anthropomorphism to describe the animals around her (specifically the camels and her dog Diggety) is suggestive of the necessity for companionship for humans; the need to establish meaningful connections with others. For Davidson, companionship with animals comes easier than with humans (presuming this stems from her perception of society as problematic and grossly flawed).

• Davidson on camels: “They are haughty, ethnocentric, clearly believing they are god’s chosen race. But they are also cowards and their aristocratic demeanour hides delicate hearts. I was hooked.” (p. 14)
• “[The camels] hung around me like flies, shuffling their feet, looking embarrassedly at the ground or coyly through their elegant lashes, acting apologetic and loving and remorseful…” (p. 80)
• “Diggity had become a cherished friend rather than simply a pet.” (p. 227)
• “[Diggity] combined all the best qualities of god and human and was a great listener." (p. 207)

Cinematography, specifically types of cinematic shots  in  Charlie’s Country .   Those commonly seen in the film include wide shots (camera captures a wide view of the context or setting), close up shots (camera captures events from a short distance away; involves a character’s facial features and expressions), as well as panoramic shots (camera pans around horizontally, showing surroundings). Directors are intentional in the type of cinematography they employ; therefore it is crucial to observe the context in which these shots take place in order to enrich the analysis. 

• Several wide angle, landscape shots of nature, both at the beginning of the film and when Charlie first enters the Australian wilderness.
• Close up shots of Charlie sitting by the fire, and when he is in prison.
• Panoramic shots of Aboriginal art that Charlie discovers in the wild.
• Panoramic shot also in the courtroom where Charlie is on trial.

Remember! When analysing, you  must  consider where these occur in the context of the film’s narrative, and the effect they have on enhancing the events/themes/broader ideas being presented in the scene. (i.e. How are the characters portrayed compared to their surroundings? Compared to others? How are they interacting with these elements? Why has the director chosen this angle/shot?)

Sample Essay Plan

Compare how Tracks and Charlie’s Country present the importance of Individualism.

Sample Introduction:

Set amidst an era of significant social and political change, Robyn Davidson’s autobiographical memoir ‘ Tracks’  and Rolf de Heer’s film ‘ Charlie’s Country’  explores the plight of individuals who embrace individualism. Both Davidson and de Heer assert that individualism is necessary for the protagonists, who find themselves marginalised from the wider population. Through their respective journeys to independence, Robyn and Charlie achieve  a sense of empowerment through identity self-refashioning , as well as they express  their disapproval of   the toxic institutions of society . However, the text and the film also demonstrate how at times,  embracing individualism can present challenges to those who pursue it . Ultimately, Davidson and de Heer commend those who do not fully conform to society.

Paragraph 1: Charlie and Robyn gain empowerment through independently establishing their own identity.

Robyn sees the trip as a demonstration to herself of the shedding of the traditional image of white, middle class woman: 

• “Am I an individualist because I believe I can take control of my own life? If so, then yes, I was definitely that.” 
• “I had… been sick of carrying around the self-indulgent negativity which was so much the malaise of my generation, my sex and my class.”
• Describes the experience as a “gentle catharsis” and that “[She] was happy”.

Charlie’s abandonment of the Ramingining community is an attempt to resolve the identity ambiguity he feels as a result of the Government intervention.

• Charlie appears to receive government benefits only to have to give it away to family, later divulging that “I have no money left… or food. I’m hungry”. When he tries to source food by traditional means, he is punished. All this demonstrates his struggles in balancing two cultures.
• Going back into his “Motherland” he is joyful, dancing and eating again. Recognises a sense of security in going back -- “That’s what I want”, “now I’m home”.

Paragraph 2: Embracing individualism for the protagonists means resisting toxic societal constructs.

Robyn adamantly condemns the deeply entrenched racism of Australian culture and sympathises with the Aborigines and their hardship. Her determination to learn about the Aboriginal people is an attempt to overcome the wedge that has been driven between the two communities: 

• “Racism is a daily experience for blacks in Alice Springs. It reinforces their own feelings of worthlessness and self-hate.”
• “Large mining corporations… lusting after Aboriginal Reserve land.”
• The dependency of the Aboriginal people termed as a “handy PR stunt” for government and policies equated to “apartheid in South Africa”.

Charlie becomes increasingly resistant against the traditions and policies of the government institutions.

• Many times he is seen throwing cigarettes into the fire -- his resentment towards the introduction of white customs. "You come from far away and bring us alcohol, ganja, tobacco... all bad!"
• Charlie rejects the white lifestyle by refusing to eat the food in the community, recognising its detrimental properties. Charlie on illness: “It’s all that… white man junk food we eat."

Paragraph 3: Resisting conformity is challenging for Robyn and Charlie, particularly in an oppressive society.

Robyn is met with harsh opposition and derogatory depictions in the media: 

• Labelled “the next town rape case.” 
• Discovers feces on her pillow one night in Alice Springs -- “let my presence be known as if I were a trespasser.”
• “‘Camel lady’ had that nice patronising belittling ring to it.”

Charlie is constantly shut down when embracing the ways of his culture; ultimately submitting to individualism also unveils his dependency on white society.

• He is charged with ‘recreational shooting’, and his hunting spear is considered "a dangerous weapon."
• Charlie’s confession earlier about his false teeth: “I can’t eat with them… I can eat without them” alluding to this dependency on society.
• The irreversible damage of white intervention is evident in Charlie’s poor health as a consequence of going back to “the old way” -- must go to the hospital.

Additional essay topic and prompts:

‘Resistance to conformity is at the forefront of Tracks and Charlie’s Country ’. To what extent do you agree?

Discuss the ways in which the environment assists the protagonists in their journey for self-discovery.

‘The connection to the land is significant for the characters of both Charlie’s Country and Tracks ’. Discuss.

‘The stories of Charlie and Robyn represent the plight of many others’. To what extent do you agree?

Compare the ways in which characters in Tracks and Charlie’s Country seek to discover what really matters to them.

‘Despite their deep hardship, Charlie and Robyn find transformation in their journeys’. Discuss.

Useful Resources

How to Write a Killer Comparative

Reading and Comparing Tracks into the Wild

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

Master Reading and Creating

Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

Welcome to 2014! As many of you will already be in your second or third week of schooling, it’s likely that you’re getting plenty of workload from across your subjects. Some of you may very well be preparing for your oral presentation SAC that’s coming up very soon! If that is the case, I’ve collated a list of some popular topics that have cropped up in the Australian media since September last year. The list is intended to help you brainstorm different issues you may wish to debate in your speech, with the contention left for you to decide once you have researched enough on the topic! Check it out below:

• Treatment of asylum seekers 
• Processing of asylum seekers
• ‘One punch law’
• Street violence
• Should mathematics be compulsory in schools?
• Shark culling in South Australia
• The end of car manufacturing in Australia
• Sex education and homosexuality
• Work-for-the-dole scheme
• Needle vending machines
• East-West tunnel
• Cory Bernadi’s book – The Conservative Revolution (Abortion)
• Should we smack our children?
• The Indigenous employment gap
• Tecoma McDonalds
• Sexism in the media
• Animal cruelty
• Treatment of fare evaders
• Wearing the hijab in schools
• Childcare wages
• Should the government fund private schools?
• See  Oral Presentation Issues in 2013  for other ongoing issues

Stasiland and 1984 are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

‍ 1. Introductions

Stasiland is a memoir-style recollection of the author Anna Funder’s encounters with people affected by the years of the German Democratic Republic (GDR), or when Germany was divided into east and west. It marries the author’s personal growth and development during her period of research with the personal histories of those who acted as both perpetrator and victim of the regime’s atrocities. The result is an emotional and deeply human perspective of this heavily-documented period of history which delves into the lasting yet often invisible marks the GDR left on those it touched.

1984 is on the surface the dystopian narrative of the struggles and ultimate downfall of a man named Winston who lives in the depressingly grungy and hopeless world of Big Brother and The Party. In a more profound sense, however, it is author George Orwell’s warning concerning the possibilities inherent in the development of totalitarianism and how these might come to damage the human race.

3. Character Analysis and Comparison

When comparing the characters presented in these two texts, it is important to remember that Orwell’s are fictional and Funder’s are her retellings of real people’s stories. Take care to avoid discussing Funder’s characters as constructions, and focus instead on how she has chosen to portray them.

4. Sample Paragraphs

Prompt: Discuss the different ways in which the authors of Stasiland and 1984 explore the intricacies of state power and knowledge.

Sample Introduction

When significant knowledge in any form is gained, it follows that it can be used in any way an individual or group sees fit. Stasiland and 1984 both show that the same piece of information can be used in drastically different ways to suit the purpose of that information’s owner. In both texts, we can observe this in many areas: mass surveillance for security or espionage purposes, recordkeeping to retain the truth or warp it, and medical or physiological advancements used to solve humanity’s problems or deliberately harm and deform people. Such examples force us to consider two well-known maxims, and to decide between the bliss of ignorance and the power of knowledge.

Sample Body Paragraph

In theory, mass surveillance has many benefits; it could be used to prevent criminal activity such as large-scale terrorist attacks and ensure the happiness and wellbeing of citizens. However, it is almost never associated with anything positive. In George Orwell’s 1984 , we are introduced to his hypothesis concerning what it would be like if it were to become developed to its full extent. The concept can be divided into three levels; firstly there is the obvious, external activities that we observe in both texts, which include mail screening, a military or gendarme presence in the streets and a network of informers. Secondly there is the introduction of the state into the home, which is achieved by The Party mainly through the telescreen, the most prominent and sinister instrument of mass surveillance in Oceania which gives total access to individual behaviour in the privacy of the home. While Winston seems to have found a loophole in this area by being ‘able to remain outside the range of the telescreen’, The Party carries its mass surveillance to the truest sense of the expression by extending it to a seemingly impossible third level, which introduces the state into ‘the few cubic centimetres inside [the] skull’. Interestingly, while the Thought Police cannot truly ‘see’ what is inside someone’s head, they can still control it; as long as people think that someone can see their thoughts, they will censor them themselves. This shows that the beauty of mass surveillance is that it does not actually have to be universal or all-encompassing to be successful. This is why the Stasi did not need to go to the lengths of The Party to achieve a similar result; the people merely need to believe that it is so on the basis of some evidence, and through this they can be controlled. Ultimately, mass surveillance can never be anything but destructive for this reason; it could put a complete halt to all terrorist plots and it would still act against the people by insidiously forcing them to censor their own thoughts out of fear.

Sample Conclusion

Both Stasiland and 1984 show absolutely that knowledge is a fundamental and intrinsic part of power, as it cannot exist without knowledge. While it is true that knowledge can be held without exercising it in some external display of power, it always shapes the person who holds it in ways both subtle and direct. Knowledge can therefore be seen as similar to Pandora’s Box; once it exists in a mind, it alters it, and the actions it prompts depend only on the desires and will of that mind .

In order to properly understand either of these texts, you’ll need to put on your history hat. Both of them are very firmly rooted in historical events, and to get a good grasp on what they really mean, you need to understand these events. You should research communism and socialism fairly extensively as well as the GDR, but you don’t need to sit for hours and write a book on the subject. All you need to do is trawl through Wikipedia for half an hour, or as long as it takes to get a sense of the subject. They key is to not ignore things that you don’t understand; if you see terms like ‘Eastern Bloc’ or ‘Marxism’ or ‘The Iron Curtain’ and you’ve got no idea what they are, research them! Even terms that you might believe you’re familiar with, like ‘Communism’ could also use a refresher.

The other main point is that 1984 particularly deals very heavily in ideological and philosophical argument. Orwell constructed the events of the plot as one giant hypothetical situation, so try and think to yourself – could that really happen? Is that really possible, or is this whole thing just plain silly? Remember that this text is much, much more than a simple narrative, and address it as such

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Theme vs. Motif vs. Symbol

Themes, motifs and symbols are different kinds of narrative elements - they’re parts of a story that help to shape its overall effect. However, even though they’re words we use all the time in our English studies, it isn’t always easy to tell the difference!

This post will take you through some definitions , give you some examples and show you how you can use them in essays too. Let’s start with the broadest of the three…

What Is a Theme?

A theme is an idea or a subject that an author wants to explore. Themes appear throughout a work, and they’re often abstract ideas rather than concrete images that you can explicitly identify. Themes usually appear in interactions: for example, a parent reuniting with a child might evoke the theme of parenthood or family, an experience of discrimination might evoke the theme of prejudice or racism, a character facing a difficult choice might evoke the theme of morality or conflict, and so on. As you might be able to see, themes can require us to read between the lines because they are usually implied.

What Is a Motif?

A motif is something a bit more specific. Rather than an abstract idea, we’re looking for a concrete object (usually physical items, but also potentially sounds, places, actions, situations or phrases) that returns time and time again throughout a text. This repetition of motifs helps to create structure for a text - it can tether parts of the story to or around a central image. Because motifs are often linked to a theme , they can also serve as a reminder of that theme’s importance. For example, if the central theme was family or parenthood, the author might create a bird’s nest outside a character’s room; as we watch the bird and the chicks grow throughout the text, parallels are also drawn back to the theme.  

What Is a Symbol?

You can think of symbols as motifs minus the repetition . It’s the more default word we use when referring to an object that represents an idea, and unlike a motif, symbols only need to appear once to have an impact. They can simply tell us more about a character or situation in that instant, at that specific time, rather than being a parallel or recurring throughout a text. However, they’re still identified in a similar way to motifs: symbols are also concrete objects and they’re still connected to themes. 

Examples of Themes, Motifs and Symbols

Here are some text-specific examples for a closer look at these terms: 

Check out our Macbeth , Rear Window and The Great Gatsby blog posts for more on these texts. If you’re studying other texts, have a look at our list of text guides in The Ultimate Guide to Text Response .

Identifying and Using Themes

Themes usually come across in interactions , and a possible first step to identifying them is thinking about if an interaction is good or bad, and why. For example:

In Rear Window , one of the neighbours berates everyone else for failing to notice their dog’s death.

This is a bad interaction because:

• a dog dying is never any good
• it tells us that none of these neighbours are looking out for or really care about each other
• someone may have killed the dog

The theme we might identify here is duty. The film might suggest that we have a duty to look out for our neighbours (without sacrificing their privacy) or to do our part to keep the neighbourhood safe from potential criminals.

Another example might be:

In The Great Gatsby , the Sloanes invite Gatsby over for dinner without really meaning it.

• it tells us how nasty the Sloanes are
• Gatsby still seems to be a misfit despite his wealth
• Tom is at best complicit in the Sloanes’ insincerity 

The themes here might be society, wealth and class . This interaction shows us where these characters really stand with regard to these categories or ideas. Because he is ‘new money’, Gatsby cannot understand or fit in with the cruel and disingenuous customs of ‘old money’.

Most interactions in a text will fit into a theme somewhere, somehow - that’s why it’s been included in the story! Try to identify the themes as you go , or maintain lists of interactions and events for different themes. Because themes are so broad, they’re useful for guiding your understanding of a text, particularly as you’re reading it. They also provide a great foundation for essay planning since you can draw on events across the text to explore a certain theme.

Identifying and Using Motifs & Symbols

While themes can generally appear in texts without the author needing to make too much of an effort, motifs and symbols have to be used really consciously . A lot of interactions might just be natural to the plot, but the author has to take extra care to insert a symbol or motif into the story.

To identify either, pay attention to objects that might feel unusual or even unnecessary to the scene at first - from the examples above, Gatsby showing Daisy his shirts might seem like a strange detail to include, but it’s actually an important symbol in that moment. Then, you go into the brainstorming of what the object could represent - in this case, Gatsby’s newfound wealth. Symbols in particular often appear at turning points : the relationship between two characters might take a turn, an important sacrifice might be made or perhaps someone crosses a point of no return - all of these are potential plot points for the author to include symbols. For motifs , look more for repetition . If we’re always coming back to an image or an object, like Daisy’s green light or Lisa Fremont’s dresses, then it’s likely that image or object has significance.

Symbols and motifs can be more subtle than themes, but they will also help to set your essay apart if you find a way to include them. You’d usually include them as a piece of evidence (with or without a quote) and analyse what they tell us about a theme. For example:

‍ On the surface, Gatsby appears to be financially successful. Over several years, he has acquired many material belongings in order to demonstrate his great wealth. For example, Fitzgerald includes a scene featuring Gatsby tossing his many ‘beautiful’ shirts onto Daisy, who sobs as she admires them. This display of wealth represents the superficial natures of both characters, who prize material belongings over the substance of their relationship.

You don’t need a quote that’s too long or overpowering ; just capture the essence of the symbol or motif and focus on what it represents. This is a really good way to show examiners how you’ve thought about a text’s construction, and the choices an author has made on what to include and why. To learn more about text construction, have a read of What Is Metalanguage?

If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up with…essentially (as I, a true master of the English language, would put it) the absolute worst. 

Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and I’m still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the ‘Might Go Ahead and Drop Out of VCE so I Don’t Have To Do My Oral’ club, as proof that it can be done and to help you get through it. 

What Do We Mean by ‘Overcoming’?

As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isn’t going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you can’t completely shake the nerves. So, by accepting the reality that the fear probably isn’t going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage. 

Selecting a ‘WOW’ Topic

Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a ‘WOW’ topic and contention . As Lisa says,

“an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.”

This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you don’t just need to choose a topic that will engage your audience, but also one that you yourself find engaging. 

Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out. 

So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they don’t only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion – these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here . 

More About the Voice, Less About the Words

It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay – using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isn’t to say that your command of language isn’t important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you can’t avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.

During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When you’re already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:

• Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them. 
• Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners – just make sure you don’t only use short sentences and prevent your oral from flowing. 
• Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness. 
• Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they don’t get to speak back, and this means that as long as you don’t use slang you can have some fun with your delivery. 
• Don’t rely on an essay-like structure. Your audience won’t know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow. 

Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you aren’t worried about passing out. The ancient adage ‘fake it ‘til you make it baby’ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable. 

Preparation and Memorisation

Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful – and will also be easier to memorise.

Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence. 

Making the Most of Your Nerves

As much as I would love to tell you that you can be ‘cured’ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this ‘wired’ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel ‘on edge’, a manageable amount of nervous energy can give you an edge that will amp up your performance. 

Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is to…*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into place…as long as you put in the work. 

Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!

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The Crucible

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From the infectious groupthink of accusers to the fear-mongering speeches of Reverend Parris and Judge Danforth, the Salem witch trials in The Crucible mirror Arthur Miller’s lived experiences as a named “communist” (called before Joseph McCarthy’s Committee on Un-American Activities). Analyze at least three specific moments in The Crucible that gesture toward the actions, attitudes, and rhetoric of McCarthyism.

The word “crucible” has two meanings. The term can either refer to a large (witch’s) cauldron wherein substances boil together, or a challenging test of character (a “trial by fire”). Considering both definitions, how does the title of The Crucible function as a metaphor for the events and developments in Miller’s play?

The Crucible uses the Salem witch trials to closely examine intersecting hierarchies of class, gender, and power in a conservative Puritan community. The least powerful members of society—a slave, a homeless woman, and a sexual deviant—are the first to stand accused, and the accusers themselves are young servant girls (who do not possess a great deal of political power prior to the witch trials). What messages does this play send about obtaining and maintaining power? How do power dynamics fluctuate throughout the play?

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• Ray Kurzweil on how AI will transform the physical world

The changes will be particularly profound in energy, manufacturing and medicine, says the futurist

B Y THE TIME children born today are in kindergarten, artificial intelligence ( AI ) will probably have surpassed humans at all cognitive tasks, from science to creativity. When I first predicted in 1999 that we would have such artificial general intelligence ( AGI ) by 2029, most experts thought I’d switched to writing fiction. But since the spectacular breakthroughs of the past few years, many experts think we will have AGI even sooner—so I’ve technically gone from being an optimist to a pessimist, without changing my prediction at all.

After working in the field for 61 years—longer than anyone else alive—I am gratified to see AI at the heart of global conversation. Yet most commentary misses how large language models like Chat GPT and Gemini fit into an even larger story. AI is about to make the leap from revolutionising just the digital world to transforming the physical world as well. This will bring countless benefits, but three areas have especially profound implications: energy, manufacturing and medicine.

Sources of energy are among civilisation’s most fundamental resources. For two centuries the world has needed dirty, non-renewable fossil fuels. Yet harvesting just 0.01% of the sunlight the Earth receives would cover all human energy consumption. Since 1975, solar cells have become 99.7% cheaper per watt of capacity, allowing worldwide capacity to increase by around 2m times. So why doesn’t solar energy dominate yet?

The problem is two-fold. First, photovoltaic materials remain too expensive and inefficient to replace coal and gas completely. Second, because solar generation varies on both diurnal (day/night) and annual (summer/winter) scales, huge amounts of energy need to be stored until needed—and today’s battery technology isn’t quite cost-effective enough. The laws of physics suggest that massive improvements are possible, but the range of chemical possibilities to explore is so enormous that scientists have made achingly slow progress.

By contrast, AI can rapidly sift through billions of chemistries in simulation, and is already driving innovations in both photovoltaics and batteries. This is poised to accelerate dramatically. In all of history until November 2023, humans had discovered about 20,000 stable inorganic compounds for use across all technologies. Then, Google’s GN o ME AI discovered far more, increasing that figure overnight to 421,000. Yet this barely scratches the surface of materials-science applications. Once vastly smarter AGI finds fully optimal materials, photovoltaic megaprojects will become viable and solar energy can be so abundant as to be almost free.

Energy abundance enables another revolution: in manufacturing. The costs of almost all goods—from food and clothing to electronics and cars—come largely from a few common factors such as energy, labour (including cognitive labour like R & D and design) and raw materials. AI is on course to vastly lower all these costs.

After cheap, abundant solar energy, the next component is human labour, which is often backbreaking and dangerous. AI is making big strides in robotics that can greatly reduce labour costs. Robotics will also reduce raw-material extraction costs, and AI is finding ways to replace expensive rare-earth elements with common ones like zirconium, silicon and carbon-based graphene. Together, this means that most kinds of goods will become amazingly cheap and abundant.

These advanced manufacturing capabilities will allow the price-performance of computing to maintain the exponential trajectory of the past century—a 75-quadrillion-fold improvement since 1939. This is due to a feedback loop: today’s cutting-edge AI chips are used to optimise designs for next-generation chips. In terms of calculations per second per constant dollar, the best hardware available last November could do 48bn. Nvidia’s new B 200 GPU s exceed 500bn.

As we build the titanic computing power needed to simulate biology, we’ll unlock the third physical revolution from AI : medicine. Despite 200 years of dramatic progress, our understanding of the human body is still built on messy approximations that are usually mostly right for most patients, but probably aren’t totally right for you . Tens of thousands of Americans a year die from reactions to drugs that studies said should help them.

Yet AI is starting to turn medicine into an exact science. Instead of painstaking trial-and-error in an experimental lab, molecular biosimulation—precise computer modelling that aids the study of the human body and how drugs work—can quickly assess billions of options to find the most promising medicines. Last summer the first drug designed end-to-end by AI entered phase-2 trials for treating idiopathic pulmonary fibrosis, a lung disease. Dozens of other AI -designed drugs are now entering trials.

Both the drug-discovery and trial pipelines will be supercharged as simulations incorporate the immensely richer data that AI makes possible. In all of history until 2022, science had determined the shapes of around 190,000 proteins. That year DeepMind’s AlphaFold 2 discovered over 200m, which have been released free of charge to researchers to help develop new treatments.

Much more laboratory research is needed to populate larger simulations accurately, but the roadmap is clear. Next, AI will simulate protein complexes, then organelles, cells, tissues, organs and—eventually—the whole body.

This will ultimately replace today’s clinical trials, which are expensive, risky, slow and statistically underpowered. Even in a phase-3 trial, there’s probably not one single subject who matches you on every relevant factor of genetics, lifestyle, comorbidities, drug interactions and disease variation.

Digital trials will let us tailor medicines to each individual patient. The potential is breathtaking: to cure not just diseases like cancer and Alzheimer’s, but the harmful effects of ageing itself.

Today, scientific progress gives the average American or Briton an extra six to seven weeks of life expectancy each year. When AGI gives us full mastery over cellular biology, these gains will sharply accelerate. Once annual increases in life expectancy reach 12 months, we’ll achieve “longevity escape velocity”. For people diligent about healthy habits and using new therapies, I believe this will happen between 2029 and 2035—at which point ageing will not increase their annual chance of dying. And thanks to exponential price-performance improvement in computing, AI -driven therapies that are expensive at first will quickly become widely available.

This is AI ’s most transformative promise: longer, healthier lives unbounded by the scarcity and frailty that have limited humanity since its beginnings. ■

Ray Kurzweil is a computer scientist, inventor and the author of books including “The Age of Intelligent Machines” (1990), “The Age of Spiritual Machines” (1999) and “The Singularity is Near” (2005). His new book, “The Singularity is Nearer: When We Merge with AI”, will be published on June 25th.

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What to know about the key policies that got airtime in the presidential debate

Ximena Bustillo

Republican presidential candidate former President Donald Trump, left, and President Joe Biden during a presidential debate hosted by CNN on Thursday in Atlanta. Gerald Herbert/AP hide caption

Thursday night’s presidential debate may be more remembered for how the candidates delivered remarks on stage and the digs they took at one another rather than the issues top of mind for voters this election year — but there was plenty of policy that got airtime.

President Biden often stumbled through his answers , derailing his train of thought. And former President Donald Trump ignored questions about addressing climate change , accepting the results of the election and he reiterated false claims about immigration and his criminal trial .

Still, immigration , abortion and the economy were among the election-year questions the candidates were asked in the 90-minute CNN presidential debate. Here are a few of the issues that took center stage.

The economy and inflation

The first question of the night focused on rising prices.

Biden said he inherited from Trump, his predecessor, an “economy that was in free fall” thanks to a pandemic that roiled the economy and tangled supply chains. It was up to his administration, Biden said, to “try and put things back together again.”

In fact, government spending in the U.S. under both Biden and Trump also may have contributed to rising prices, putting more money in people’s pockets and enabling them to keep spending in the face of high prices.

Many prices were depressed early in the pandemic, however, so the comparison is less flattering if you start the clock when Biden took office. Since early 2021, consumer prices have risen 19%, while average wages have risen 16%. Wage gains have been outpacing price increases for the last year, so that gap should eventually close.

The federal debt grew substantially under both Trump and Biden. While the pandemic accounts for much of that red ink, both presidents have overseen large deficits, including periods before and after the pandemic when the economy was in good shape.

First presidential race since Roe v. Wade was overturned

Access to abortion and varying state policy were at the center of a heated back and forth between Trump and Biden. When asked whether or not Trump would block abortion pills, which are used in about two-thirds of abortions, Trump said he agreed with a U.S. Supreme Court decision that rejected a challenge to abortion pill accessibility.

Trump ultimately took credit for bringing abortion policy “back to the states” and is a “person who believes in exceptions” for rape, incest and the life of the mother. However, some states have passed highly restrictive measures without such carve-outs.

Trump during the debate accused doctors of executing babies who are born alive after a failed abortion attempt many times. Federal data suggests that very few U.S. babies are born alive as a result of a failed abortion. The Centers for Disease Control and Prevention recorded 143 deaths during a 12-year period ending in 2014 involving infants born alive during attempted abortions.

The majority of abortions in the U.S. happen in the first trimester (first 12 weeks of pregnancy). Only about 1.3% take place after 21 weeks, according to the CDC , and many are not viable or may endanger the mother.

Biden accused Trump of “doing a terrible thing” — referring to the overturning of the landmark abortion rule — and argued against each state making its own rules.

“The idea that states are able to do this is a little like saying we're going to turn civil rights back to the states, let each state have a different rule,” Biden said.

Foreign policy and foreign wars lead to insults

Since the last presidential election, Russia launched its attack on Ukraine, and the war between Israel and Hamas erupted.

Trump doubled down that if he was in office, the war in Ukraine never would have happened. Biden accused Trump of encouraging Russian President Vladimir Putin. Trump criticized continued federal aid to Ukraine, making the claim that he will have the war between Russia and Ukraine settled before he takes office if elected.

"The difference is he never would have invaded Ukraine, never, just like Israel would have never been invaded in a million years by Hamas," Trump said.

Biden, in response, quipped, "I've never heard so much malarkey in my whole life."

On conflicts in the Middle East, Biden boasted about being the biggest “producer of support” for Israel in the world, condemned Hamas and said he denied Israel “2,000-pound bombs.”

Trump said Biden should let Israel “finish the job,” adding a jab that Biden is a “very bad Palestinian.”

Accepting the 2024 election results?

Trump dodged a question asking him to accept the results of the elections and to agree that political violence is unacceptable.

"Well, I shouldn't have to say that," he said. "But of course, I believe that it's totally unacceptable. And if you would see my statements that I made on Twitter at the time, and also my statement that I made in the Rose Garden, you would say it's one of the strongest statements you've ever seen, in addition to the speech I made in front of, I believe, the largest crowd I've ever spoken to."

Trump denied responsibility for the Jan. 6 insurrection on the U.S. Capitol, doubling down on the argument that he encouraged people to be “peaceful and patriotic.”

4 takeaways from the first presidential debate

Moderator Dana Bash reiterated her question of whether or not he would accept the results regardless of who wins.

"If it's a fair and legal and good election, absolutely," Trump said. "I would have much rather accepted these, but the fraud and everything else was ridiculous, and if you want, we'll have a news conference on it in a week, or we'll have another one of these on in a week. But I will absolutely, there's nothing I'd rather do."

— NPR's Scott Horsley contributed to this story. All video clips credited to CNN Presidential Debate.

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Guest Essay

How Can Biden Win the Debate? Trump? Five Tips for Each Candidate.

By New York Times Opinion

Joe Biden and Donald Trump will face off Thursday night for the first general-election debate of the 2024 presidential election cycle. Below, two political experts weigh in on what each candidate needs to do to win.

The Five Things Biden Needs to Do

By Chris Whipple

Chris Whipple is the author of “The Fight of His Life: Inside Joe Biden’s White House” and “The Gatekeepers: How the White House Chiefs of Staff Define Every Presidency.”

1. Be energetic and engaged. Mr. Trump and his MAGA allies have tried to portray the president as a doddering geriatric who can’t complete a sentence. Simply appearing engaged, alert and coherent will be a victory for Mr. Biden. Mr. Biden would also do well to remember this fact: Incumbent presidents almost always lose the first debate. That’s true of even superlative political talents like Ronald Reagan and Barack Obama. Among the reasons for this are hubris and lack of practice; incumbent presidents are used to being saluted, not challenged.

2. Drive the contrast with Mr. Trump. Mr. Biden must recast the race from a referendum on his presidency to a stark choice between himself and Mr. Trump. “I used to say to President Obama, ‘If you’re on defense about your record, we’re losing,’” says Jim Messina, who ran Mr. Obama’s winning 2012 campaign. Mr. Biden should remind voters that his predecessor lost more jobs than any president since Herbert Hoover and cut taxes for the ultrawealthy and corporations. He should emphasize: “Donald Trump said he was going to pass an infrastructure bill. He couldn’t. I did. Donald Trump said he was going to bring back manufacturing jobs. He couldn’t. I did . ”

3. Outline a second-term agenda. Voters don’t reward presidents for what they’ve done; they want to know what they’ll do in the future. Mr. Biden should pick up on the American comeback narrative from his State of the Union speech and detail his priorities for a second term: codifying Roe v. Wade; cutting taxes for the middle class; extending student loans; combating climate change; and perhaps above all, making goods and housing affordable for working families. Admit that prices are too high and explain how he’ll bring them down. Mr. Biden can frame the election as a choice between a president who cares about the common good and a felon who cares only about himself and retribution.

4. Stress the threat to reproductive rights and democracy. These have been potent issues for Democrats in recent elections across the country. In November, they will be potent again. Mr. Biden should repeat Mr. Trump’s own words, like the former president’s boast, “ I was able to kill Roe v. Wade ,” and his remark that there should be “some form of punishment” for women who have abortions. If Mr. Trump asserts that he’s leaving abortion to the states, Mr. Biden can reply: “When he says ‘states’ rights’, he really means taking away a woman’s right. It’s code for outlawing abortion.”

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