a good hook for a frankenstein essay

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How to nail a Frankenstein essay

September 7, 2017

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Whether you consider yourself a Frankenstein expert, or someone who is a bit taken back by the density of the novel and Shelley’s writing, do not fret! Below I will outline 3 tips which, will hopefully give you a clearer perspective on how to approach writing on Frankenstein! Let’s get started!

1. ALWAYS TRY TO TALK ABOUT SHELLEY’S CONCERNS

Since the book was set during the Age of Enlightenment and the Romantic era, Shelley essentially used Frankenstein as a vessel to criticise and warn readers against many of the values upheld during her era. It’s therefore crucial that you address this!

The late 18th century and the first decades of the 19th century were exciting times for science and exploration. Shelley’s two main protagonists, Walton and Frankenstein, both passionately sough to discover what had previously been hidden. Walton wanted to be the first to find a passage through the Arctic Circle; Frankenstein wanted to be the first to create manmade life, to uncover the mysteries of Nature.  Both men claimed to be desirous of benefitting humankind but both wanted glory more. This obsession to win accolades for their discoveries will destroy Victor, and turn Walton for a while into a hard taskmaster over his crew.

Juxtaposed against these two characters is Henry Clerval. Clerval, too, has an inquiring mind but he also cares about humanity, family and friends. He represents the balanced human being who is sociable, compassionate, intelligent and loyal to his friends. Victor’s ability to reanimate the dead, to bring to life his gigantic Creature using the newly discovered electricity, makes him a genius but also a monster. In his inexperience he botches the work producing a hideous and terrifying creature with, ironically, initially all the virtues of the ideal man of he world. Repulsed by his amateurish handiwork, Victor abandons his creation, setting in place the vengeance that will unfold later.

Try to ground any response to Shelley’s text in the enormous enthusiasm for new discoveries and new geographic phenomena that attracted lavish praise for those who went where others feared to tread. It was this praise that drove Walton and Frankenstein to exceed reasonable expectations becoming reckless and careless of the consequences of their actions.

2. ALWAYS TRY TO DRAWS LINKS AND CONTRAST DIFFERENT CHARACTERS AND THEMES!

Walton, Frankenstein and the Creature are interconnected in so many ways – whether it be their isolation, ambition, desire for companionship, desire for vengeance or the Romantic values they share. I’ve also noted that it is also really easy to connect themes in Frankenstein as the tragic story-arc of the novel is built upon many different causes. What I mean by this is that there is a clearly define relationship between isolation, ambition and vengeance (and ultimately tragedy) in the sense that isolation is what led to the brewing of unchecked ambition which essentially causes the resultant tragedy.

Take Frankenstein for example: having left his loving family and friends, who provided him with love and companionship for Ingolstadt, there was no one to hold him back from his natural tendencies towards unchecked ambitions, leading him to creating the monster who out of spite towards society kills all of Frankenstein’s loved ones, leading them towards the desire for mutual destruction. Being able to see these links and draw them together will not only add depth to your writing but it also arms you with the ability to be able to deal with a wider array of prompts.

3. ALWAYS TRY TO LOOK FOR MORE NUANCED EXAMPLES AND DISCUSSIONS!

While Walton, Frankenstein and the Creature can be discussed incredibly thoroughly (and by all means go ahead and do it), but it is also very important to consider the novel as a whole and talk about, if not more thoroughly, on the minor characters. While characters such as the De Laceys, villagers and the rustic in the forest can be used to highlight the injustices brought upon the creature and people’s natural instincts of self preservation and prejudice, innocent characters such as Elizabeth and Justine can be used to emphasise the injustice of society and the consequences of unchecked ambition and isolation.

Henry Clerval (like previously mentioned) can be contrasted against Walton and his best friend Frankenstein to show that as long as we have a balanced lifestyle and companionship, ambition will not lead us to ruin. Characters such as the Turkish merchant can also have parallels drawn with Frankenstein in telling how our selfish desire and actions, born out of inconsideration for their consequences, can backfire with great intensity. Lastly the character of Safie (someone I used a lot in my discussions) can be compared and contrasted with the Creature to show the different treatment they receive despite both being “outsiders” to the De Laceys due to their starkly different appearances.

Mentioning these characters and utilising these contrasts can be monumental in showing your understanding of the novel and by extension, your English analytical ability.

[Video Transcription]

‍ Hey guys, I'm Lisa, welcome back to Lisa's Study Guides. Today, we're going to be talking about Frankenstein and breaking down an essay topic for it. So in the past, I've done plenty of videos looking at different types of essay topics and breaking them down by looking at keywords and then going into the body paragraphs and looking at those ideas. This time round, the takeaway message that I want you to leave with is understanding what types of evidence you should be using inside your body paragraphs. Specifically, I wanted to talk about literary devices or metalanguage. Mary Shelley, the author of Frankenstein uses so many literary devices that it's impossible to ignore. If you are somebody who is studying this text or other texts that you use and are heavily embedded with literary techniques, then it's really important that you don't just use dialogue as part of your quotes, but actually reading between the lines. I'll teach you on how it's not just about finding dialogue, which you include as quotes inside your body paragraphs, but reading between the lines, so looking at literary devices like metaphors, symbols, imagery, so let's get started. Mary Shelley's Frankenstein constitutes escaping critique of the prioritization of scientific advancement over human welfare and relationship. Dr. Frankenstein is fascinated with science and discovery, he is consumed with the idea of a new and more noble race by stitching up dead body parts from a cemetery. He feverishly works away at his experiment until one day the creature is born. Frankenstein is horrified at the living thing he has made and completely rejects the creature, leaving it without a parental figure. The creature is left alone to look after himself. He educates himself and on repeated occasions tries to approach people in society, however, is rejected every time because of his monstrous appearance. As a result, the creature becomes enraged at humanity and Frankenstein's unfair treatment towards him and consequently exacts revenge on Frankenstein and his family. The essay topic we'll be looking at today is, Our sympathies in this novel ultimately lie with the creature. Discuss. So in previous videos, we've looked at keywords, how to identify them and how to define them. Since it's pretty straightforward for this essay topic, I thought I would skip that part and then go into the more nitty gritty with the body paragraphs. But, if you are unfamiliar with these steps, then I'll link them in the card above and also in the description below so you can have a look at how I went ahead and did the keyword section in my planning, now back to the prompt. Unequivocally within Frankenstein, Shelley portrays sympathy as spread throughout the text through depicting the creature as innately human through his desire for relationship and the challenges he faces at the hands of the prejudice enlightenment society he's born into, Shelley elicits sympathy for his situation. However, through the notable absence of the female gender throughout the text, Shelley portrays those silent within society as most deserving of sympathy. So, with this in mind, here are the potential paragraphs in response to this prompt. Paragraph one, Shelley's depiction of the creature as innately human motivates support for his challenges at the hands of a prejudice society. The action of the creature to open his dull yellow eye, symbolic of his nature as a human being alongside a green wrinkled on his cheeks, with one hand stretched out, indicates his simple desire for paternal connection. Through constructing the creature's actions as innately human Shelley acts proleptically of the inequitable experiences the creature will experience throughout the structural architecture of the text. And through doing so, depicts his character as worthy of support. Similarly, through the metaphor of fire, Shelley explores the duality of progress and innovation of which the creature desires. The fire, one that gives light as well as heat, yet also causes a cry of pain, indicates the hardships of the creature in his isolation, whereby, his forced to withdraw from his desire for education. Upon viewing himself in a pool, the creature becomes "fully convinced that I was in reality [a] monster" with the consequent sensations of despondency and mortification granting the reader the opportunity to sympathize with the creature in order to indicate the intensely negative social prejudices that are inflicted upon the creature. So you can see that we've looked at symbols of the creature's nature and the metaphor of fire to support our topic sentence. Using literary techniques is what's going to make the difference between you and another student who might be saying the same thing. Why? Because when you look at literary devices, it means that you're reading just beyond the lines, just beyond what's in front of you. You're now introducing your own interpretation, so you're looking at fire and thinking about what that means in connection to the text, and why Mary Shelley would use the term of a fire and revolve her discussion around that. So let's see how we keep doing this in the next body paragraph. Paragraph two, Shelley indicates the significance of relationships as a key element of human nature that the creature is denied, motivating affinity from readers. In replacement of human relationships, the creature rather seeks comfort within the natural world. The metaphorical huge cloak that the creature takes refuge within indicates this, illustrative of an ecosystem, the forest allows the creator to surround himself with life. The subsequent attempts to "imitate the pleasant songs of the birds" reveals the desperate urge of the creature for companionship as he is abandoned by the paternal relationship represented by Victor Frankenstein, which forms a core of human relationships. Again, here we've discussed the metaphorical huge cloak and its connection with the forest, I strongly encourage you to have the goal of discussing at least one literary device per body paragraph. And no, there is no such thing as talking about too many literary devices because it's really just about whether or not your argument is concise and whether or not you're backing that up with evidence. Paragraph three. However, it is Shelley's depiction of the submissive female sex within Frankenstein that becomes most deserving of sympathy. Each female character is characterized as passive, disposable, and they're serving a utilitarian function, namely as a channel of action for the male characters within the text. Notably, the complete lack of absence of Margaret Saville, functioning only as an audience for Walton's letters exemplifies this. Margaret's role within the text is simply to enable Walton to relay the story of Frankenstein and as such were the most necessary character of the texts whilst the most distant. This ironic dichotomy enables Shelley to exemplify the difficult role of the female within society, arising sympathy from the readership. Here, even the purposeful emission of a character is discussed as a language technique. So, this type of literary device definitely tops the cake because you're literally looking at what's not even there. That's definitely reading between the lines. Frankenstein is a very complex novel, and sometimes that's what makes it a difficult text to study. But, it lends itself to many unique interpretations and it's heavily dressed with heaps of literary devices or metalanguage, however you want to call it. So, that's what makes it an absolutely fantastic text for high school students to study. If you wanted to find out more on how to nail a Frankenstein essay, then I'll link you to my blog just down below, because there are definitely more tips there to help you excel in this particular text. Thank you so much for watching, and especially even if you're not studying this text, I hope you've been able to take something away from this video. And I'm confident that you have because talking about literary devices is definitely a topic that isn't necessarily the fore front of discussion in classrooms, and it's something that a lot of people struggle with. So, I hope you are able to walk away with a new goal in sight in order to improve your English essays. So, I will see you guys next time, thank you so much for joining me, see you guys soon. Bye!

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The Lieutenant 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 .

Grenville’s novel follows the life of protagonist, Lieutenant Daniel Rooke in his journey with the first fleet. Rooke’s primary conflict is his choice between his moral conscience and duty as a soldier. Because he is aware from an early age that he is out of step with the world, he tends to be more reasonable in his way of dealing with conflict. His final response to his inner conflict is to stand strongly by what he believes.

The Lieutenant at its core is a journey of self-discovery as Daniel Rooke navigates the immoral waters of British imperialism and its impact on the indigenous Australians. Becoming closer to Tagaran, Rooke attempts to bridge cultural barriers through the transformative power of language. Rooke observes the scissions created by violence and the perhaps misplaced Western superiority and is perpetually torn between his moral intuitions and his obligations and duty as a Lieutenant.

TIP: Have an understanding of the historical context behind The Lieutenant as well as the real life people that Grenville loosely based her novel off of. This means having a grasp on the first fleet, the British colonisation of Australia and important figures such as Bennelong.

Tip: i have included some examples from the text but this list is by no means exhaustive, occasionally there is a repetition of examples. it’s important to remember that examples are versatile and can be applied to many different themes and ideas. feel free to add and explore how other examples might enhance these themes..

Language dictates commonality and communication, yet to Rooke he discovers that central to the power of language is the willingness to cooperate, patience and respect. Throughout Grenville’s novel, however, it is clear that language can not only dispel the lasting vestiges of misunderstanding but it can also form the basis for racism and violence. It is through our language itself that reveals our biases.

The language of racism

• Weymark refers to the Indigenous men during their first encounter as “mister darkie” etc. each a patronising euphemism concealing his arrogant notions of superiority

The limitation of language to accurately portray and convey a moment

• “what had passed between Tagaran and himself had gone far beyond vocabulary or grammatical forms” (pg186)

The language of violence

• “what it said was I can kill you. He did not want her to learn that language. Certainly not from him” (pg224)
• “Violence had an enlivening effect. As long as someone else was the victim it made the blood pump, gave the world an edge of glamour” (pg239)
• “ Gamekeeper. He wondered whether that word had killed Brugden” (pg240)
• “The gun is the only language the buggers will understand” (pg241)
• “war was a species of conversation” (pg108)

Assumed cultural superiority of British empire

The hierarchical nature of British Society stands in diametric opposition to the community-oriented system employed by the Indigenous Australians. This hierarchy defines their people by their contributions to “Her Majesty” and shames and “punish[es]” all those who fail to comply with the loose morals and violence condoned by the British colonists. This notion is elucidated through the exploitation of the natives and the nations reliance on oppression and servitude to maintain its imperial status, put simply: their strength is an accident arising from the weakness of others. It is on this foundation that Grenville explores the violent treatment of the natives by the British and even their treatment of their own people.

• “In the world of Church Street, Benjamin Rooke was a man of education and standing and a father to be proud of. At the Portsmouth Naval Academy a mile away, he was an embarrassment” (pg6)
• “So we punish…. Every man is the same. If he steals, he is punished… It was interesting to hear that magnificent idea – the product of hundreds of years of British civilisation – spelled out so plain”(pg195)
• This was justice: impartial, blind, noble. The horror of the punishment was the proof of its impartiality. If it did not hurt, it was not justice.” (pg197)
• “By god they are savage… Dirty too, look at the filth on them”
• “they may be savages, we call them savages. But their feelings are no different from ours”
• Weymark resorts to derogatory name calling, urging on “my black friend” and “Mister Darkie” in his base supplications

Power of conscience

The morality that is ingrained in Rooke from the onset aligns quite naturally with our own moral standards. Yet Grenville encourages readers to explore the difficult choice between morals and disobedience. Rooke faces such a choice. To obey an order to accompany an expedition to capture or kill six indigenous men, this forms the central conflict of Grenville’s novel. As elucidated through both Rooke and Gardiner, moral acts that defy the expectations and “orders of Her Majesty” are deeply frowned upon.

• “But Rooke, think: this is not a request, it is an order” (pg246)
• “…spell out the consequences of refusal.” (pg248)
• “… the service of humanity and the service of His Majesty were not congruent” (pg249)
• “I am sorry to have been persuaded to comply with the order. I would not for any reason ever obey a similar order” (pg285)
• “your orders were a most gravely wrong thing, I regret beyond my words my part in the business” (pg285)

Violence is central to the operation of imperialists as the British tightens its grip on the Indigenous Australians. Grenville emphasises that the power sought out by the British empire will always come at the expense of the natives. Violence and force are used to assert power, confirm boundaries around usurped land, promulgate fear and discourage resistance. The gun becomes a symbol of the violence and force of the settle and they show little intention of relinquishing the dominant position that the gun affords them.

• The punishment for the mutineers of the Renegade reinforces Rooke’s understanding of institutional power and violence as one lieutenant is hanged in a gruesome spectacle and the others dispatched into a nameless void.
• Weymark is determined to affirm his dominance and establish the white man as a powerful force
• Brugden’s increased freedom with a weapon results in violence towards the natives which culminates in the kidnapping of the two native men who are “grabbed” against their will
• Brugden’s unchecked brutality, and Gilbert’s excessive use of force, highlights the colonialists’ use of violence as a means of achieving their goal

Duty, service, obedience and the military life

Conforming to the pressures of the British Empire, Rooke joins the marines and complicitly serves without attempting to question the morality behind his actions. Importantly, he joins the marines not out of patriotic pride, but because he believes it will aid him to pursue his academic curiosities and steer away from violence. Yet it only brings him closer to the reality that lurks behind the ostensibly moral quest of British imperialism.

Character Analysis

Tip: whilst the lieutenant focusses on rooke’s experiences, you can’t neglect the minor characters in the novel, they are there for a reason think about how these characters are similar or different, how their stories contribute to grenville’s overall message and their relationship with the central protagonist rooke. ‍, daniel rooke.

• Lieutenant on the first fleet
• Struggles to articulate his thoughts and emotions as he is afraid of being “out of step with the world”
• From a young age, Rooke’s interactions with others has made it clear to him that he is different. As such this dictates his response to conflict: blaming himself or withdrawing. His connection to Tagaran through mutual empathy demonstrates his ability to overcome conflict through mutual respect
• Rooke is bound by duty to Her Majesty yet finds his missions in conflict with his innate instinct for moral righteousness

Supporting quotes

• “quiet, moody, a man of few words”
• “he had no memories other than of being an outsider”
• Captain on the first fleet
• Stands in contrast to Rooke in every respect
• Storyteller that is obsessed with his narrative
• Ignores the cruelty and violence of the Imperialist expedition in favour of an interesting story
• Blinding opportunism that undermines his integrity
• His tendency to gloss over the violence committed in the name of Her Majesty reflects his loyalty to the expedition
• “man whose narrative was so important to him”
• “a storyteller who could turn the most commonplace event into something entertaining”
• Connects with Rooke through their mutual love for learning and language
• Tagaran voluntarily engages with Rooke in his quest to understand their language, this surpasses the clumsy and mandatory lessons imposed on Boinbar and Warungin.

Supporting quotes ‍

• “Forthright, ferless, sure of herself, she looked to him like a girl who had already mastered whatever social skills her world might demand”
• “a clever child like Tagaran was the perfect choice: quick to learn, but innocent. Curious, full of questions but only a child”
• Gardiner acts as a foil character to both Silk and Rooke, sharing the same trials and tribulations as Rooke however responding differently than Silk
• Rooke’s friendship with Gardiner establishes the grounds for their later discussions on language, the treatment of the natives and the imperialist machine as Gardiner sets an example of the consequences of going against the duties required of him
• Brugden is portrayed as an essential element of colonising and the survival of the British fleet. As an embodiment of violence, Grenville suggests that integral to the operation of imperialism is crude and unwavering violence
• “Brugden, out there in the woods, that powerful chest… He would be an efficient killer”
• “Something had happened out there in the woods about which Brudgen was remaining silent”
• “The prisoner, taller than anyone else, his powerful frame half bursting out of its thread bare check shirt…”  

Lancelot Percival James

• Family of slave owners, product of the empire
• Rooke’s inability to understand James is symbolic of his values not aligning with that of the British empire. It foreshadows his later conflict with the value of the empire
• James symbolises the derision of the British hierarchy
• “Gamekeeper! The word suggested the society that Lancelot Percival James had boasted of at the Academy… But New South Wales was no gentleman’s estate… and the gamekeeper was a criminal who had been given a gun” (pg91)

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Interesting Points of Analysis

Silk’s Narrative

• Why is Silk obsessed with documenting the first fleet? What does he seek when he writes?

Rooke’s job as an astronomer

• Initially signing up for the first fleet as an astronomer, Rooke’s job is supposed to be observing comets and stars yet when he arrives he is tasked with a multitude of laborious tasks that hinder his astronomical work. In what ways does this act as a microcosm for the imperialist mission in Australia?

VOCAB: microcosm - a situation or event that encapsulates in miniature the characteristics of something much larger.

Rooke’s life in Antigua

• Why did Grenville include this section? What does it add to Rooke’s journey? Why does Rooke choose to do this?

Third Person Omniscient Narration

• Written from Rooke’s perspective, whose opinion do we hear the least of? And what unique perspective does Grenville’s choice of narrative perspective offer us?
• Grenville’s language reflects Rooke’s love for language. Her choice of imagery reveals Rooke’s way of seeing the world. For example, “crescent of yellow sand like a punctuation mark” accentuates Rooke’s tendency to observe his world as a linguist might and  highlights Rooke’s deep connection with language. Likewise, Rooke’s perception of a gun that speaks a language that “does not require listeners” emphasises his natural tendency to think as a linguist. Grenville does not write in an overly complex, dense or poetic way in order to mirror Rooke’s tendency to view things logically

How does the setting that Rooke finds himself in mirror or parallel the emotions that he experiences?

• Naval Academy (Portsmouth)
• “just another world that wrenched him out of shape”
• “sucked out of his spirit and left a shell being”
• “closed in on itself”, “narrow”, “squeezed tightly”
• Sydney Cove
• “There is nowhere in the world that I would rather be”(pg97)
• "On the northern shore, high dark prows of headlands hung over the water, the sombre woods pressing down into their own reflections. To the south the land was lower, each bay and promontory shining with the glossy leaves of mangroves. Now and then between them a crescent of yellow sand was like a punctuation mark” (pg89)

TIP: Just like the minor characters I mentioned before, meaning and themes come from all aspects of a novel not just plot points and major characters. By including niche examples such as the setting or the narrative perspective, you can demonstrate that you have a really thorough understanding of the text!

Video Transcription

This video’s takeaway message focuses on tackling essay prompts that include quotations. The extra quote with the prompt can seem superfluous, but often, they can provide hints about how to tackle or challenge the essay topic. It is there for a reason, and if you are familiar with the quote, I would recommend that you try to incorporate it into your essay!

Before we unpack today’s essay topic, let’s have a look at background information.

Kate Grenville’s The Lieutenant explores the commonality of the human spirit amidst tumultuous conflict during the First Fleet’s arrival in Australia in 1788. Drawing upon the true experiences of William Dawes, a British astronomer and one of the lieutenants to travel with the First Fleet, Grenville crafts a work of fiction inspired by Dawes’ “two little blue notebooks” detailing his growing understanding of the Aboriginal language Gadigal and his conversations and connection with Patyegarang, a young Aboriginal girl.

The ability for two individuals from completely different worlds to transcend their differences in order to share cherished moments and understandings together is exemplified in The Lieutenant , alongside the rife external and internal conflicts which threaten such relationship.

Today’s prompt is:

“But a man could not travel along two different paths.”

How does Grenville explore Rooke’s conflict of conscience in The Lieutenant?

Start off with focusing on the keywords in this prompt, especially the phrases that resonate with you for Steps 1 and 2 of brainstorming (which I have previously covered in other essay topic breakdowns.)

In particular, let’s have a look at the phrase “conflict of conscience” as this captures the essence of the prompt and what you will need to discuss in your essay.  

Conflict of conscience suggests internal conflict, which implies that we will need to consider morality and the concepts of right and wrong, especially when a difficult decision must be made and ‘sides’ need to be taken.  

Conflict itself is a central theme of The Lieutenant , however, it is important to recognise that this topic considers conflict through the narrower lens of ‘conflict of conscience’. This means that in your discussion, the relevance to the prompt is crucial to keep in mind to ensure you are actually answering the question!  

But first, let’s analyse the quote:

“But a man could not travel along two different paths”

This quote alludes to Rooke’s realisation regarding the reality of his identity, not only as Tagaran’s friend or “kamara” but also as a soldier or “Berewalgal". The resignation and recognition of the impossible – that is, for Rooke to continue attempting to appease both ‘sides’ without making critical decisions about who and what he ultimately valued more - is evident in this quote. Hence, this quote refers to the conflict of conscience he experiences and provides us with an insight into not only his character but also conflict itself.

Why is it not possible for a man to travel along two different paths?

What would happen if he tried?  

Why was this realisation important for Rooke, especially for his character and development?

These are the kinds of questions coming to mind upon seeing that quote alone, which all provide hints as to how I might tackle this prompt.  

Now that we have looked at a few ideas related to the question, we’ll now move into potential paragraphs for this essay.

Paragraph 1: Grenville’s utilisation of Rooke’s perspective in detailing his thought processes, observations and realisations reveals the facets of Rooke’s character contributing to his internal conflicts.

Remembering this is a ‘how’ prompt, we want to be analysing ways in which Grenville explores Rooke’s conflict of conscience. In this paragraph, I have chosen to focus on the raw and intimate expression of his inner thoughts and consciousness as the ‘how’ aspect.  

The detailed perspective reveals Rooke’s naivety in assuming the possibility of maintaining a peaceful connection with Tagaran and the Aboriginal community amidst turbulent and violent times. Consequently, it highlights his realisations regarding the morality of the conflicts he is involved in, and how despite one’s admirable intentions, “a man could not travel along two different paths” without facing dire consequences for their actions.  

Questions I might ask myself here include: why does Rooke initially try to deny the reality of his situation? What does his preference for a peaceful and accepting approach towards the Indigenous Australians suggest about his approach to conflict?

This cognitive dissonance ultimately contributes to his internal conflict between the value he places in his connections with Tagaran and her community and in his duties and obligations as a lieutenant. As readers, we come to realise the duality of this conflict in Rooke’s mind through the limited omniscient third person perspective, which provides us with an insight into Rooke’s shifting understandings of Indigenous people, conflict and even himself.  

I would then continue unpacking these changing understandings, especially ones relevant to his character which reveal his internal conflicts further. ‍

Paragraph 2: In addition, the stark contrast between Rooke’s approach to his conflict of conscience and other soldiers’ approaches underscores the rationale behind his actions and the stakes ineluctably linked with his choices and morality.  

This paragraph’s analysis revolves around Grenville’s inclusion of a host of different characters and outlooks - from Indigenous Australians to intransigent Colonial perspectives. I would emphasise the importance of juxtaposition between these different perspectives as it elucidates the values and beliefs underpinning each individual’s choices, especially during conflict.  

Although the core of the essay discusses internal conflicts, highlighting the connection between internal and external conflict would add another layer of complexity to your essay. Rooke’s conflict of conscience results in his permanent departure from Australia, and fleshing out the ramifications of dissent and opposition towards other Colonials is key in demonstrating your understanding of the complex and intertwined nature of conflict.

Paragraph 3: Through the detrimental implications of Rooke’s initial conflict avoidance, Grenville’s focus on his subsequent self-awareness to unite his morals and his actions highlights the strength of his character to resolve his internal conflicts to prevent further perpetration of injustice towards the Aboriginal population.  

Here, I am having a closer look at how Rooke's encounters with his conflicts of conscience and the repercussions of his actions in attempting to take a ‘middle-ground’ stance catalyse his development as an individual - in particular, how it solidifies his moral stance and his decision to act in a manner that reflects his beliefs.  

By showing Tagaran how to load the gun but not how to fire it, or by accepting the navigator role but distancing oneself from the group, he endeavours to avoid conflict with either ‘side’. However, passivity is a stance within itself, and in the case of the treatment towards Indigenous Australians, Rooke’s silence in not rejecting the actions of other “Berewalgal” inevitably enables injustice to continue.  

It is only through his understanding that non-committal actions also incriminate him as a perpetrator that his choice to sacrifice his Colonial obligations for taking an active stance to fulfil his moral obligations comes to light. This reveals the role that internal conflicts may have in inciting powerful change and realisations in an individual.  

The complexity of internal conflict can be difficult to discuss, but by using the quote provided in the prompt and asking yourself questions about the implications of the quote, we are able to delve into and construct a sophisticated understanding of The Lieutenant and of conflict itself.

LSG-curated sample essay topics for The Lieutenant

Now it's your turn! Here's a list of essay topics for your studies:

• The Lieutenant demonstrates how an individual's true self emerges in the face of conflict.' Discuss. ‍
• ' The Lieutenant shows the catalysts for miscommunication and misunderstanding between the First Fleet and the local Aboriginal population.' Discuss. ‍
• ' The Lieutenant presents a society where sustained, amicable relations between the "Berewalgal" and the Aboriginal population were impossible.' Do you agree? ‍
• “But a man could not travel along two different paths.” How is Rooke's conflict of conscience explored in The Lieutenant ? ‍
• 'Rooke's own differences furthered his understanding of and connection with Tagaran.' Discuss. ‍
• "You did not learn a language without entering into a relationship with the people who spoke it with you." How is this concept explored in The Lieutenant ? ‍
• "The intention of evil was there which is all that God see when he looks into our hearts." 'Grenville explores the importance of intention over action in The Lieutenant .' Discuss. ‍
• Why are Rooke's realisations about and outlook on the world an anomaly? ‍
• ' The Lieutenant explores how social change can only happen with dissent and non-conformity.' To what extent do you agree? ‍
• How does Grenville construct morality in The Lieutenant ? ‍
• 'Rooke discovers that exploration of the self is crucial in shaping one's sense of identity.' Discuss. ‍
• 'It is easier to resist change than to enable it.' How does The Lieutenant demonstrate this idea? ‍
• 'In The Lieutenant , it is the individual who determines what is possible and what is impossible.' Discuss. ‍
• "If he were to go back to that night on the sand of Botany Bay, would he make the same choice again, knowing that this was where it would lead him...?" How does Grenville explore how and why difficult choices are made? ‍
• 'Intransigence and a sense of superiority ultimately prevent unity in New South Wales.' Do you agree?

8. Resources

Download a PDF version of this blog for printing or offline use

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!

• Introduction to William Wordsworth and Romanticism
• Key Features of Romantic Poetry
• Poetic Analysis Examples

1. Introduction to William Wordsworth and Romanticism

William Wordsworth was a British poet and primary co-founder of the Romantic literary movement. He strongly believed that the poetry of the nineteenth century was much too fast-paced and too mindless to be able to evoke a meaningful message to the reader. Contending that ‘all good poetry is the spontaneous overflow of powerful feeling,’ he wished to pioneer Romanticism to create a genre of poetry that reminded the reader of the very essence of humanity.

As such, Wordsworth and fellow poet Samuel Taylor Coleridge founded a new style of poetry through their co-written 1798 Lyrical Ballads , a collection of poetry which attempted to unite the human condition with the tranquility of nature. 

As a resident of England’s picturesque Lake District, Wordsworth enjoyed becoming one with nature by wandering through the neighbouring hills, moors and lakeside views, while mentally composing poems inspired by its glorious elements. 

William Wordsworth: Poems Selected by Seamus Heaney 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 .

2. Key Features of Romantic Poetry

The Romantic movement of poetry was founded during the Industrial Revolution, a period in which people were growing farther from the serene comfort of nature and closer towards modern mechanisation and mass manufacturing. As such, a primary characteristic of Romantic poetry is nature, as poets attempted to remind humanity of its meditative respite, and the comfort it could provide in the backdrop of the pollution that accompanied the growing industrialisation of England. 

Wordsworth was a pantheist and believed that God was within every aspect of the natural world. In addition to this, he categorised himself as an ardent ‘worshipper of nature’. Thus, much of his poetry explores nature in a sacred and religious sense, presenting goodness and naturalness as synonymous - aptly displaying his belief of nature as a living, divine entity that could only to be ignored at humankind’s peril. 

Emotionalism 

Romantic poetry subdues reason, intellect and the scientific truth in order to place more focus on the ‘truth of the imagination’. As a result of the harsh rigidity and rationality of the Enlightenment era, all human sentiments, from melancholiness to hopefulness, were celebrated by Romantics as important instruments in poetry to remind the common people of sentimentality in a modern and intransigent era. 

As Romantics believed that these feelings allowed one to look deeper into one’s self, the theme of powerful emotions constructs the very essence of Romantic poetic poetry. As a result of this, rather than placing much importance on sense or sensibility, much of Wordsworth’s poems scrutinise his own effusion of feelings and the universal truths that these help him discover, speaking as the characteristic Romantic poet occupying a sentimental place of alienation.

Rebellion and Individualism

The Industrial Revolution oversaw the creation of distinct class differences between the extremely wealthy class of businessmen, and financially struggling workers and entrepreneurs. Poets, like all other artists, were forced to become increasingly independent and needed to rely on their unique vision and style in order to succeed in their gradually declining line of work. The Romantics subsequently began to view themselves as heroes who challenged and overcame the social challenges that arose; as champions of independence and self-awareness. As such, Romantic poetry often features characters or symbols of valiant heroism, as the poet acts as a visionary figure in his work, like a prophet telling of poetic self-awareness. 

The Sublime

In accordance with their celebration of human emotions, Romantics also became fascinated with the literary conception of ‘the sublime’, a mental state that Classical authors such as Longinus defined as ‘physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic greatness’ that is of such magnificence that it cannot be measured. 

The Romantics explored these extraordinary experiences in their poetry, describing the power of such sublime experiences on one’s senses, mind and imagination. Wordsworth expressed in his essay that a sublime experience is what occurs when one’s mind attempts to attain ‘something towards which it can make approaches but which it is incapable of attaining’. For example, his biographical poem, The Prelude recounts his ascent of Mount Snowdon and the sublime emotions he experiences as a result of its powerful atmosphere. 

Many have viewed Wordsworth’s view of the sublime as the Romantic standard, as his poetry focuses equally on both the alluring and devastating aspects of such sublime experiences. His work focuses on the intertwined pleasure and terror that is generated as a result of such experiences, and how either end of the spectrum is ultimately beautiful and inspiring.

Context is really important when engaging with a text in VCE English, so be sure to read Context and Authorial Intention in VCE English .

3. Poetic Analysis Examples 

Example passage 1.

Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it.

And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your teacher.

This passage, taken from Wordsworth’s Tables Turned; An Evening Scene on the Same Subject , is a primary example of a poem displaying the Romantics’ propensity and reverence for the natural landscape.  

Thematic Analysis

The speaker of the poem contrasts the ‘endless strife’ of book-learning to the spontaneous and liberal method of learning through interacting with nature. The description of the ‘woodland [linnet’s]’ song as ‘sweet’ music evokes an image of heavenly bliss associated with the charms hidden within nature. That ‘there’s more of wisdom in’ such nature works in tandem with this, as the speaker asserts that the natural landscape is able to teach a lesson of a magnificence incomparable to the monotony of the ‘dull’ studying thorough book-learning. 

The speaker’s evocation of ‘blithe’ emotions through sound is continued in the second stanza, in which ‘the throstle’ delivers another divine ‘song’ in an attempt to entice the reader. The speaker furthers his advocation for natural learning through a condemnation of route learning, as he attacks teachers of such as ‘mean preachers’. The directly following use of a pun emphasises this contrast, as the ‘light of things’ symbolises both the enlightenment that will accompany nature’s teaching, as well as the literal ‘light’ of nature underneath the sun. 

The final line of the passage summarises the speaker’s persuasion aptly, as the phrase, ‘let nature be your teacher’, rings similar to a passage which can be found in the Bible; the speaker thus implies that the natural world is the all-superior entity and source of knowledge that one should take lessons from. 

Stylistic Analysis

The rhyme and the rhythmic beat of the poem give it a sound comparable to a nursery-rhyme. This works in tandem with the Romantic viewpoint that great poetic language should be simple, accessible and conversational; as understandable to the common people as a nursery rhyme is to a child. This similarity also works in accordance with the authorial message of the poem, that nature should be a universal ‘teacher’, as nursery rhymes are often employed as enjoyable sing-songs that educate children on a moral level. As such, Wordsworth here strengthens his viewpoint through his poetic words; that nature should be a mentor to all. 

Example Passage 2

‍ For thou art with me here upon the banks  Of this fair river; thou my dearest Friend,  My dear, dear Friend; and in thy voice I catch  The language of my former heart, and read  My former pleasures in the shooting lights  Of thy wild eyes. Oh! yet a little while  May I behold in thee what I was once,  My dear, dear Sister! and this prayer I make,  Knowing that Nature never did betray  The heart that loved her; 'tis her privilege,  Through all the years of this our life, to lead  From joy to joy… Therefore let the moon  Shine on thee in thy solitary walk;  And let the misty mountain-winds be free  To blow against thee: and, in after years,  When these wild ecstasies shall be matured  Into a sober pleasure; when thy mind  Shall be a mansion for all lovely forms,  Thy memory be as a dwelling-place  For all sweet sounds and harmonies; oh! then,  If solitude, or fear, or pain, or grief,  Should be thy portion, with what healing thoughts  Of tender joy wilt thou remember me,  And these my exhortations! Nor, perchance—  If I should be where I no more can hear  Thy voice, nor catch from thy wild eyes these gleams  Of past existence—wilt thou then forget  That on the banks of this delightful stream  We stood together; and that I, so long  A worshipper of Nature, hither came  Unwearied in that service: rather say  With warmer love—oh! with far deeper zeal  Of holier love. Nor wilt thou then forget,  That after many wanderings, many years  Of absence, these steep woods and lofty cliffs,  And this green pastoral landscape, were to me  More dear, both for themselves and for thy sake!

This passage is taken from the final section from Lines Composed a Few Miles above Tintern Abbey , a critical work in Wordsworth’s poetic career. Tracing the growth of his mind in different periods of time, the poem is a condensed, spiritual autobiography of Wordsworth himself as it views his younger self from the perspective of his older self, weighing the sense of ‘loss’ suffered against the belief that the years have brought him ‘abundant recompense’. 

After recalling his experiences with nature over his formative and adult years, the speaker now addresses his younger sister Dorothy, as he gives her heartfelt advice about what he has learnt. Here, Dorothy becomes a ghost of his former self, as he hears ‘the language of his former heart’ when she speaks and perceives his ‘former pleasure’ in the ‘soothing lights of [her] wild eyes’. 

The speaker depicts his loyalty to nature and its reflective loyalty to him, by the expression that ‘nature never did betray [his] heart’ that loves Dorothy, and this is the reason they have been living from ‘joy to joy’, lending nature a role of salvation. 

The speaker then directly addresses the moon as a kind of separate entity, in order to ask it to bless his sister by shining on her ‘solitary walk’, so that when she is an adult her mind may become a ‘mansion for all lovely forms’. This is an ode to the harshness of the society at the time, in which the privileged businessmen and factory owners possessed a monopoly over British wealth, and accompanying prejudices clouded social judgement. As such, the speaker expresses his desires for his beloved sister to be exempt from such hardship that he was once subjected to, so that she can enjoy ‘sweet sounds and memories’ without experiencing the vexations of an unrelenting human society. 

The conclusion of the poem is cyclic, as it takes the speaker back to the ‘green pastoral landscape’ of the beginning of his meditations. This symbolises the omnipresent timelessness of nature. As the speaker muses upon his ‘past existence’, he wishes to convey his own reverence for nature to his beloved sister, as he expresses that she will not forget the ‘steep woods and lofty cliffs’ upon which he first understood and respected nature. 

The language utilised in this poem is lucid and natural, characteristic of Romantic poetry. The simplicity of the words chosen by Wordsworth effectively communicate the honesty of his own emotions towards nature. The elevated blank verse structure furthers this simplicity, as its familiar and easy tone is like that of a comfortable heartbeat or pulse that runs throughout one’s body in a serene state of mind. 

Ultimately, the unconstrained and liberating tone of the poem, in accordance with its free blank verse structure emphasises Wordsworth’s belief that nature is within our very selves. Just as the poem runs smoothly and continuously, akin to a human pulse, Wordsworth suggests that nature too runs within everyone as an incessant heartbeat, necessary in order to experience a ‘warmer’ and ‘holier’ love for this universe.

We’ve explored historical context, themes, essay planning and essay topics over on our Like a House on Fire by Cate Kennedy blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

1. Dissecting the prompt

2. Essay Topic and Body Paragraphs Breakdown

3. Resources

Like A House On Fire  is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our  Ultimate Guide to VCE Text Response .

Dissecting the Prompt

Dissecting a collection of short stories can be very challenging due to the many characters involved, and the different themes. But what most students don’t realise is that almost all the stories in the anthology have common and overlapping themes. And that’s what you need to focus on when you’re building your essay. I’m going to go through one essay topic to demonstrate how you’re expected to dissect and plan the essay. This is how I planned my essays ate the beginning of the year when I was still struggling with writing an essay on short stories and wanted everything to be clear to me before I start writing so that I know exactly what I will be covering. 

Although many of the characters in like a house on fire are dealing with physical and emotional pain, it is their resilience that will be remembered by the reader. Do you agree?

So first of all, you need to highlight all the important aspects of this question.

Although many of the characters in like a house on fire are dealing with  physical and emotional pain , it is  their resilience  that will be remembered by the reader. Do you agree?

Now that we have highlighted the important parts that the question is inviting us to discuss, we know that we need to mention characters who are dealing with physical and emotional trauma yet rise above their tribulations, leaving the readers hopeful and optimistic. In doing so, you’ve pretty much discussed everything the prompt wants you to, but you can always go one step further and have a rebuttal paragraph. What I mean by that is: find a character who is faced with physical or emotional trauma yet gives up and becomes trapped in his/her imperfect reality. That way you show the assessor your knowledge of the text because you show them that even though Kennedy focuses on the resilience of her characters, she also sheds light on the reality that some people don’t have the strength to recover from such traumas.

Detailed Plan

What I personally do after dissecting my prompt is have a plan of what I’m going to be covering in each paragraph. The aim for a high scoring essay is to cover 5-6 short stories, if you chose to cover only 3-4 then from my experience the maximum you can score is an 8/10.

I’m going to split my essay into three sections each covering a certain aspect of my prompt.

First paragraph

Which characters struggled with physical trauma yet rose above it? 

1. In ‘Flexion’, Kennedy explores the pain and anguish Frank feels as he fights his injury, determined not to let it destroy him through her use of linguistic imagery whereby the slimily of Frank ‘[clawing] himself up onto the machinery’ as he is ‘growling like an animal’ depicts the sheer resolve that he exhibits as he tries to overcome the physical pain and handicap that threaten his independence. Thus, his resilience becomes admired by the readers who realise that despite almost dying, he chooses to alter his imperfect circumstances.

2. In the eponymous story ‘Like a House on Fire’, the unnamed protagonist suffers from a herniated disc that hinders his ability to carry out his role as a husband and a father yet he chooses to alter his imperfect reality by working his ‘teeth gritted way up the stairs’ not once but twice, in hope of finding a solution to the stagnation taking place in his own marriage.

Second paragraph

Which characters struggled with emotional trauma yet rose above it? 

1. In ‘Waiting’, the protagonist is waiting in a cold clinic whereby she will be told that she has suffered yet another miscarriage. Despite the harrowing pain she feels and the feeling of something ‘ebbing away’ leaving her once again without a ‘viable’ child, she chooses to move forward and declares that she is ‘not a martyr, just someone who sees what need to be done and does it’.

2. Michelle in ‘Five-Dollar Family’, has to adjust all her dreams of Des becoming the perfect father and boyfriend when she realises, he’ll be going to jail. Thus, Michelle’s epiphany that ‘she is got everything this baby needs now’ and no longer sees any value in Des allow for self-growth and ultimately the ability to cope with single parenting.

Third paragraph

Which characters are unable to show resilience and become prisoners of their imperfect circumstances? 

1. In ‘Sleepers’, Ray becomes a sleeper in his own life in the aftermath of his break up. Unlike many of the short stories in the collection, Sleepers is one that does not end with the optimism of a new start but rather ends with Ray being trapped again in his life waiting ‘to take what was coming to him’ thus signifying the damage his loneliness has cost him; whereby his life has become a series of lethargic and meaningless events.

After planning which stories, we want to discuss in the essay, we can now begin the writing process. So essentially the most important part of writing your essay is planning it and making sure you understand properly what you need to answer in your essay.

Later in the year when you are doing EAL/English practice papers, it is quite unrealistic for you to create such a detailed plan considering the time restrictions. So, I will run you through how I planned my essay in an actual exam situation.

So just like we did with the detailed plan, we highlight the important parts of the question that will need to be discussed in the essay.

Then you need to think of the stories that represent physical pain yet the characters rise above their tribulations:

2. Like a House on Fire

Then you need to think of the stories that represent emotional pain:

2. Five-Dollar Family

Then you need to think of the rebuttal story whereby the characters suffer but do not exhibit resilience:

1. Sleepers

So essentially in the short plan you just outline the stories that you would like to mention and split them up according to which aspect of the prompt they will be answering rather than actually writing dot points on each one. So your plan becomes less detailed but rather just an outline so you stay on track and do not ramble.

If you found this essay breakdown helpful, then you might want to check out our Like a House on Fire Study Guide which includes 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!

By the way, to download a PDF version of this guide for printing or offline use, click here !

VCE Text Response Study Guide

Like a House on Fire by Cate Kennedy

Like a House on Fire Essay Topic Breakdown

Close analysis of 'Cake' from Like a House on Fire

'Cake' from Like a House on Fire YouTube Video

The Ultimate guide to VCE Text Response

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion ‍

[Video Transcript]

‘Liz sits there helpless’

• From the beginning of the short story we can see that Liz isn’t, or doesn’t feel in control of her situation. The step by step process where she needs to ‘put the key in the ignition and turn it. Fire up the car and drive away’ showcases how the smallest details of starting the car, something that should be so simple instead requires immense mental effort on her behalf.

‘And he’s in there, alone, where she’s left him’.

• Her guilt bubbles to the surface here because it’s as though she’s the villain here, and she’s to blame for leaving him alone.

‘Abandoned him to a roomful of rampaging strangers’

• What’s really interesting here is her description of the other children. Instead of seeing this as an opportunity for Daniel to befriend others and have a great time, she describes them as ‘rampaging strangers’, giving us a sense that Daniel is subject to an unfamiliar environment that is wild, frenzied, rioting.

“Guerilla warfare”, “Jungle gym”, "seasoned commanders”

• These "fighter” phrases reveal Liz’s anxious mindset, as she imagines a world where her son is almost in the wilderness, every man for himself, as though it’s the survival of the fittest - and which Liz so fearfully express, “not that there’s going to be anybody with enough time to notice that Daniel needs help”, is not an environment where Daniel belongs.

“She digs in her bag for her lipstick, her fingers searching for the small cylinder, and pulls out a crayon, then a battery, then a tampon, then a gluestick.”

• Her everyday objects are splashed with Daniel’s belongings - the crayon, the gluestick, and demonstrate how intertwined her life is now with her child. This foreshadows her return to her pre-baby life - that things will not be the same.

“The smell of the place, that’s what throws her, the scent of it all, adult perfumes, air breathed out by computers and printers and photocopiers.”

• Even her sense of smell betrays her being away from Daniel. There’s a sense of alienation, of nausea that shows readers like us that Liz doesn’t feel like she belongs. This is in contrast to later in the story when she is reunited with Daniel and is comforted by ‘inhaling[ing] the scent of him again’.

“Same computer, same shiny worn spot on the space bar…"

• The repetition of ’same’ actually heightens how much has actually changed for Liz. Her entire world is now Daniel, whereas everything in the office is as it used to be. Therefore, there’s this sense that the people’s lives in the office remain unchanged, highlighting again Liz’s alienation.

“Yeah, yeah, yeah, they’re right, of course they are.”

• This sarcastic internal monologue reflects Liz’s current state of mind, where she’s experiencing a disconnect from her coworkers, and ’the land of the living’.

"Delete, she presses. Punching the key like a bird pecking. Delete, delete, delete.”

• We can feel Liz’s exasperation at this stage. The simile ‘like a bird pecking’ automates Liz’s actions in the workplace, as though she is doing it by switching to a ‘mechanical form’ of herself. The repetition of ‘delete, delete, delete’ gives us the sense that she’s frustratingly attempting to ‘delete’ her self-acknowledged, perhaps over-the-top anxiety surrounding Daniel, or trying to delete herself out of her situation. Whichever is unclear and left up to interpretation. Perhaps both ring true.

‘Returning to work after maternity leave’

• Liz’s narrative interspersed with new mum’s pamphlet. The juxtaposition of the pamphlet’s words ‘being a stay-at-home mum can begin to seem mundane and repetitive’ is contrasted with Liz’s love of motherhood - she is at odds with what society tells her she should be feeling.

‘[Daniel]’d have his thumb in his mouth right now. Not smiling, that’s for sure.’

• There’s a self-projection of anxiety here with Liz  assuming that the childcarers are unable to look after Daniel properly, and that he’s suffering.

‘God, these endless extended moments where you’re left in limbo, the time dangling like a suspended toy on a piece of elastic.’

• This simile highlights how her mindset is completely consumed with Daniel, as she likens her daily experiences with objects and things related to Daniel and childhood. She struggles to switch between her identity as a mother, and her previous identity as a colleague in the workplace.

‘Caroline, Julie and Stella had laughed dutifully enough, but their faces had shown a kind of pained disappointment, something faintly aggrieved.’

• Perhaps this is Cate Kennedy's commentary on society and motherhood. The expectations others have on you as a new mother, and how you should be feeling.

‘He doesn’t run over when he sees her’.

• The opening of this chapter is blunt and brutal. Liz has longed to see Daniel all day, her anxiety getting the best of her, and yet at the moment of their reunion, it’s not as she expects. In this sense, we can to feel that Liz is very much alone in her anxiety and despair and, not the other way around with Daniel.

’She’s fighting a terrible nausea, feeling the sweat in the small of her back.’

• Unlike other stories in this collection, her pain isn’t because the absence of love, but because of its strength. Her love for Daniel is so intense that it’s physiological, making her unwell to have been away from him.

• The symbol of cake represents her pre-baby life, a time when she was concerned with the ‘account of Henderson’s’ and ‘delete fourth Excel column’. Her priorities have now shifted, and the celebrated ‘cake’ tradition in the workplace, one that is at the centre of several conversations, is no longer to significance to Liz. Her husband, Andrew’s attempt to celebrate Liz’s first day back at work with cake is highly ironic. The societal expectation that Liz is happy to be back at work even extends to her husband, and heightens how Liz is very much alone in her experience.

If you found this close analysis helpful, then you might want to check out our Like a House on Fire Study Guide where we analyse EVERY story in the text and pinpoint key quotes and symbols!

Watch our YouTube Video on Like A House On Fire Essay Topic and Body Paragraphs Breakdown

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

Finding out that your school has selected to study a Shakespeare play as your section A text can be a pretty daunting prospect. If I’m honest, I wasn’t all too thrilled upon discovering this either...it seemed as though I now not only had to worry about analysing my text, but also understanding what Shakespeare was saying through all of his old-fashioned words. 

However, let’s not fret - in this post, I’ll share with you some Measure for Measure specific advice and tactics, alongside excerpts of an essay of mine as a reference. 

Before you start reading, How To Approach Shakespeare: A Guide To Studying Shakespeare is a must read for any student studying Shakespeare.

Historical Context 

Having a basic understanding of the historical context of the play is an integral part of developing your understanding of Measure for Measure (and is explored further in Measure for Measure by William Shakespeare ). For example, for prompts that open with “What does Shakespeare suggest about…?” or “How does Measure for Measure reflect Shakespeare’s ideas about…?” it can be really helpful to understand Shakespeare’s own position in society and how that influenced his writing. 

There’s no need to memorise certain parts of Shakespeare’s history - as that would serve no purpose - just try to gauge an understanding of what life was like in his time. Through understanding Shakespeare’s position in society, we are able to infer his stances on various characters/ideologies in the play. 

• Measure for Measure is often regarded as an anti-Puritan satire. Although Shakespeare’s religion has been a subject of much debate and research, with many theories about his faith being brought forward, many believe that he was a secret Catholic. He is believed to be a ‘ secret’ Catholic, as he lived during the rise of the Puritans - those who wished to reform the Church of England and create more of a focus on Protestant teachings, as opposed to Catholic teachings. It was often difficult for Catholics to practice their faith at this time. 
• Angelo and Isabella - particularly Angelo, are believed to embody puritanism, as shown through their excessive piety. By revealing Angelo to be “yet a devil,” though “angel on the outward side,” Shakespeare critiques Puritans, perhaps branding them as hypocritical or even unhuman; those “not born of man and woman.” Thus, we can assume that Shakespeare would take a similar stance to most of us - that Angelo wasn’t the greatest guy and that his excessive, unnatural and puritanical nature was more of a flaw than a virtue. 

Tips for Moving Past the Generic Examples/Evidence Found in the Play 

It’s important to try and stand out with your examples in your body paragraphs. If you’re writing the same, simple ideas as everyone else, it will be hard for VCAA assessors to reward you for that. Your ideas are the most important part of your essay because they show how well you’ve understood and analysed the text - which is what they are asking from you, it’s called an ‘analytical interpretation of a text,’ not ‘how many big words can you write in this essay.’ You can stand out in Measure for Measure by: 

1. Taking Note of Stage Directions and Structure of Speech

Many students tend to simply focus on the dialogue in the play, but stage directions can tell you so much about what Shakespeare was really trying to illustrate in his characters. 

• For example, in his monologue, I would often reference how Angelo is alone on stage, appearing at his most uninhibited, with his self-interrogation revealing his internal struggle over his newfound lust for Isabella. I would also reference how Shakespeare’s choice of syntax and structure of speech reveal Angelo’s moral turmoil as he repetitively asks himself “what’s this?” indicating his confusion and disgust for his feelings which “unshapes” him. 
• Isabella is shown to “[kneel]” by Mariana at the conclusion of the play, in order to ask for Angelo’s forgiveness. This detail is one that is easily missed, but it is an important one, as it is an obvious reference to Christianity, and symbolises Isabella’s return to her “gentle and fair” and “saint” like nature. 

2. Drawing Connections Between Characters - Analyse Their Similarities and Differences. 

Drawing these connections can be a useful way to incorporate other characters not necessarily mentioned in your prompt. For example, in my own English exam last year, I chose the prompt “ ...Power corrupts both Angelo and the Duke. Do you agree? ” and tried to pair Angelo and Isabella, in order to incorporate another character into my essay (so that my entire essay wasn’t just about two characters).

• A favourite pair of mine to analyse together was Angelo and Isabella. Although at first glance they seem quite different, when you read into the text a little deeper you can find many similarities. For example, while Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, “nun,” Isabella, wishes to join the nuns of Saint Clare where she “must not speak with men” or “show [her] face.” Shakespeare’s depiction of the two, stresses their seclusion, piety and restriction from the “vice” plaguing Vienna. What’s important about this point is that you can alter your wording of it to fit various points that you may make. For example, you could use this example to prove to your assessor how Isabella’s alignment with Angelo signals Shakespeare’s condemnation of her excessive puritanical nature (as I did in my body paragraph below) or, you could use these same points to argue how Angelo was once indeed a virtuous man who was similar to the “saint” Isabella, and that it was the power that corrupted him (as you could argue in the 2019 prompt). 
• Another great pair is the Duke and Angelo. Although they certainly are different in many ways, an interesting argument that I used frequently, was that they both were selfish characters who abused their power as men and as leaders in a patriarchal society. It is obvious where Angelo did this - through his cruel bribery of Isabella to “lay down the treasures of [her] body,” however the Duke’s behaviour is more subtle. The Duke’s proposal to Isabella at the conclusion of the play, as he asks her to “give [him her] hand,” in marriage, coincides with the revelation that Claudio is indeed alive. It appears that the Duke has orchestrated the timing of his proposal to most forcefully secure Isabella and in this sense, his abuse of power can be likened to Angelo’s “devilish” bribery. This is as, through Shakespeare’s depiction of Isabella, it is evident that she has little interest in marriage; she simply wishes to join a convent where she “must not speak with men,” as she lives a life of “strict restraint.” The Duke is aware of this, yet he demands Isabella to “be [his]”-  wishing to take her from her true desire and Shakespeare is able to elucidate Isabella’s distaste through her response to this: silence. By contrasting Isabella’s once powerful voice - her “speechless dialect” that can “move men” - with her silence in response to the Duke’s proposal, Shakespeare is able to convey the depth of the Duke’s selfishness and thus his similarity to Angelo.

We've got a character list for you in Measure for Measure by William Shakespeare (just scroll down to the Character section).

What’s important to realise about these bits of evidence is that you can use them in so many different prompts, provided that you tailor your wording to best answer the topic. For example, you could try fitting at least one of the above examples in these prompts: 

• ‘Give me your hand and say you will be mine…’ The characters in ‘ Measure for Measure’ are more interested in taking than giving. Discuss. 
• ‘More than our brother is our chastity.' Explore how Shakespeare presents Isabella's attitude to chastity throughout Measure for Measure .
• ‘I have seen corruption boil …' To what extent does Shakespeare explore corruption in Measure for Measure , and by what means? 
• ‘Measure or Measure presents a society in which women are denied power.’ Discuss.

How To Kick Start Your Essay with a Smashing Introduction

There’s no set way on how to write an introduction. Lots of people write them in many different ways and these can all do well! This is the best part about English - you don’t have to be writing like the person sitting next to you in order to get a good mark. I personally preferred writing short and sweet introductions, just because they were quick to write and easy to understand. 

For example, for the prompt...

“...women are frail too.” 

To what extent does ‘Measure for Measure’ examine the flaws of Isabella? 

...my topic sentences were...

• Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. 
• Shakespeare explores the hypocrisy and corruption of Isabella as a flaw, as she deviates from her initially “gentle and fair” nature.
• Despite exploring Isabella’s flaws to a large degree, Shakespeare does indeed present her redemption at the denouement of the play. 

...and my introduction was: 

William Shakespeare’s play, ‘Measure for Measure’ depicts a seventeenth century Viennese society in which disease, misconduct and licentiousness are rife. It is upon a backdrop of such ordeals that Shakespeare presents the character of Isabella, who is initially depicted as of stark contrast to the libertine populate of Vienna. To a considerable extent, ‘Measure for Measure’ does indeed examine the flaws of the “gentle and fair” Isabella, but Shakespeare suggests that perhaps she is not “saint” nor “devil,” rather that she is a human with her own flaws and with her own redeeming qualities. 

Instead of rewording my topic sentences, I touched on them more vaguely, because I knew that I wouldn’t get any ‘extra’ points for repeating them twice, essentially.  However, if you feel more confident in touching on your topic sentences more specifically - go ahead!! There are so many different ways to write an introduction! Do what works for you! 

Body Paragraphs 

This body paragraph included my pairing between Angelo and Isabella. My advice would be to continue to incorporate the language used in the prompt. In this paragraph, you can see me use the word “flaw” quite a bit, just in order to ensure that I’m actually answering the prompt , not a prompt that I have studied before. 

Isabella is depicted as a moral, virtuous and pious woman, but it is this aspect of her nature that paradoxically aligns her with the “tyrannous” Angelo. Where Angelo is “of ample grace and honour,” Isabella is “gentle and fair.” Where Angelo believes in “stricture and firm abstinence,” Isabella too believes that “most desire should meet the full blow of justice.” This similarity is enhanced by their seclusion from the lecherous society in which they reside. Angelo lives alone in his garden, “succumbed by brick,” requiring “two keys” to enter, whilst Isabella desires the life of a nun where she “must not speak with men” or “show [her] face.” This depiction of both Angelo and Isabella stresses their seclusion, piety and restriction from the “vice” that the libertine populate is drunk from. However, Shakespeare’s revelation that Angelo is “yet a devil” though “angel on the outward side,” is perhaps Shakespeare’s commentary on absolute stricture being yet a facade, a flaw even. Shakespeare presents Isabella’s chastity and piety as synonymous with her identity, which ultimately leaves her unable to differentiate between the two, as she states that she would “throw down [her] life,” for Claudio, yet maintains that “more than our brother is our chastity.” Though virtuous in a sense, she is cruel in another. Although at first glance, Shakespeare’s depiction of Isabella’s excessive puritanical nature appears to be her virtue, by aligning her with the “devil” that is Angelo, it appears that this is indeed her flaw. 

Conclude Your Essay by Dazzling Your Assessor!  

My main tip for a conclusion is to finish it off with a confident commentary of the entire piece and what you think that the author was trying to convey through their words (in relation to the topic). For example, in pretty much all of my essays, I would conclude with a sentence that referenced the entire play -  for example, how it appeared to be such a polarising play, with largely exaggerated, polarising characters/settings (eg. Angelo and the Duke, or the brothels that stood tall next to the monastery): 

Ultimately, Shakespeare’s play ‘Measure for Measure,’ depicts Isabella as a multifaceted character. She is not simply one thing - not simply good nor bad -  her character’s depiction continues to oscillate between the polar ends of the spectrum. Although yes, she does have flaws, so too does she have redeeming qualities. Though at times deceitful and hypocritical, she too is forgiving and gentle. Thus, as Shakespeare’s play, ‘Measure for Measure,’ does centre on polarising characters in a polarising setting, perhaps through his exploration of Isabella’s flaws alongside her virtues, he suggests that both the good and the bad inhabit us.

Measure for Measure 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 .

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.

False Claims of Colonial Thieves 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 .

Why Is Context Important?

When studying a text, it is very important to comprehend its context. Context will help you to understand what the text is about and what the author’s point of view is - key components of doing well in VCE English! Context is especially important for False Claims of Colonial Thieves because the authors frequently reference Australia’s history. Even the title is a nod to its context - it is all about the ‘false claims’ made by Australia’s ‘colonial thieves’, or in other words, Australia’s colonial settlers. Understanding what these false claims are will help you better understand the context and therefore, do significantly better in your English essays and assessments.

Treat this blog as a starting point only . There is so much to learn about these topics, and I recommend you do your own research in addition to reading this blog. To help you do so, I have provided a reliable external source for each topic, so you can start exploring these claims in more depth.

Terra Nullius

One of the biggest ‘false claims’ that Papertalk Green and Kinsella refer to throughout their collaboration is the colonisers’ claim of Australia being terra nullius . When the British came to Australia, they claimed that the country was ‘no man’s land’, denying that the Indigenous Australians had actually lived here for thousands of years. By pretending that no one lived in Australia, this supposedly gave the British ‘legitimacy’ to assume control over the land and those already living on it - i.e. Australia’s First Nations Peoples.

Terra Nullius was used against the Indigenous peoples for many years to justify their horrific treatment. The principle was only overturned in 1992 when an Indigenous man, Eddie Mabo, challenged this claim in the High Court of Australia. Nowadays, we recognise that the Indigenous people were here significantly earlier than the colonisers and that their sovereignty (i.e. their power over the land) was never ceded.

External source for further reading: https://australian.museum/learn/first-nations/unsettled/recognising-invasions/terra-nullius/  

The Stolen Generation

Another false claim was that the Indigenous people were inferior to white people. This claim led to the forcible removal of Indigenous children from their families, so they could be raised by ‘superior’ white people and taught white cultures/languages - these children are referred to as the ‘Stolen Generation’ because they were taken away from their families without their consent.

It was thought that placing Aboriginal children (especially mixed-race Aboriginal children) with white families would make it easier to teach Aboriginal children the ‘proper’ (British) way of living. They were either placed in institutions or adopted by white families, and often faced terrible treatment, including violence, neglect and assault. Neither the children who were removed nor their families have fully recovered from this appalling policy that continued until the 1970s.

Indeed, the effects of the Stolen Generation can still be felt today. One of the major consequences discussed by Papertalk Green and Kinsella is that a lot of Indigenous culture was lost. Many of the children who were taken away were forbidden from practising their cultural traditions or from speaking their Indigenous languages. This ban led to many traditions going extinct and is a tragic effect of this heinous false claim.

External source for further reading: https://aiatsis.gov.au/explore/stolen-generations  

Missions and Reserves 

Another claim explored in the text is the idea that Indigenous peoples could not look after themselves and would be better off with white people ‘protecting’ them. This led to the government forcing Aboriginal people to leave their ancestral lands and relocate to newer, smaller areas - a process known as land alienation. There were two types of this land - missions and reserves - and Aboriginal people faced poor treatment on both.

Missions were usually run by Christian groups so they could convert the Indigenous people to their religion. There was a strong degree of control exercised over these Indigenous people, who were expected to learn the skills required for menial jobs (such as cooking and cleaning). Contrastingly, those living on reserves were not typically subject to as much control. These people were sometimes provided with rations from the government, but there were not usually officials to oversee them.

Both missions and reserves are referred to in False Claims of Colonial Thieves , so it is important to understand the difference between the two.

External source for further reading: https://aiatsis.gov.au/explore/missions-stations-and-reserves  

Now that we’ve examined some of the more historical context , let’s take a closer look at the contemporary and modern background that Kinsella and Papertalk Green write about.

Close the Gap Campaign and Black Deaths in Custody

A key section of the text (particularly the latter third) explores current issues which Indigenous peoples face today. Two of these major concerns lie within the health and justice systems, so it is important to understand why Kinsella and Papertalk Green focus so heavily on these matters.

The Close the Gap Campaign (launched in 2007) aims to reduce the inequality in health and education that many Indigenous peoples face. It was created because the life expectancy is much lower for Indigenous than non-Indigenous peoples, and there is a significant difference between their expected levels of education. Unfortunately, many of these concerns have not been addressed today, and Papertalk Green discusses how her family is constantly dealing with death - a key theme in False Claims of Colonial Thieves that can be explained by this contextual understanding.

External source for further reading: https://www.pmc.gov.au/sites/default/files/reports/closing-the-gap-2018/executive-summary.html  

Similarly, there are a lot of concerns with the number of Aboriginal people in prison, and how many of them die while in police custody. There was even a Royal Commission into Aboriginal Deaths in Custody (i.e. a governmental inquiry) handed down in 1987, however, many of its recommendations have not been implemented to this day. This idea of unfair policing and laws that target Indigenous peoples is a key idea in the text, and Kinsella dedicates a poem to Ms Dhu, an Indigenous woman killed while in custody.

External source for further reading: https://www.theguardian.com/australia-news/2021/apr/09/the-facts-about-australias-rising-toll-of-indigenous-deaths-in-custody  

A key theme of False Claims of Colonial Thieves is mining, which refers to the practice of removing valuable materials from the Earth. Many of these resources are found on traditional Aboriginal lands, which are destroyed by the mining process. This is especially offensive to many Indigenous groups because many Indigenous cultures have a strong spiritual connection to their land (often known as Country). There is consequently a lot of tension between the Indigenous populations and governments, especially in Western Australia, where both of the authors live.

External source for further reading: https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Former_Committees/uranium/report/d07  

How Can You Use This in Your Essays?

Understanding a text’s context is very important in being able to analyse the text in appropriate depth.

For example, knowing that mining is often considered harmful to the lands to which Indigenous peoples have a strong connection, will allow you to discuss this concept in your essays. Indeed, Papertalk Green argues that mining is just as harmful to Indigenous peoples as earlier ‘false claims’ were, which is a sophisticated idea for you to use in your assessments.

As you begin to better understand and incorporate context into your essays, you can then take things one step further by examining how the author has used context as a means of demonstrating their authorial intent . For example, the effects of the Stolen Generation have been explored in several poems, and a possible viewpoint is that the Stolen Generation was used to demonstrate the devastating loss of Indigenous cultures and traditions.

Updated 08/01/2021

For a detailed guide on Language Analysis, including how to prepare for your SAC and exam, check out our Ultimate Guide to VCE Language Analysis .

Often, beginning a Language Analysis essay can be tough. How do you start? Do you even need to write an introduction? There are many answers to these questions- some say that because an introduction is not explicitly worth any marks, you don’t need to bother. However, an introduction can be a great way to organise your thoughts and make sure you set up your analysis properly…as long as you don’t waste a lot of time writing unnecessary sentences. 

If you'd like to see exactly what goes into an A+ Analysing Argument response, from the introduction to body paragraphs and beyond, check out our How To Write A Killer Language Analysis ebook!

You can use a simple, easy to remember formula that will help you to identify the key aspects of the piece very early on, and this will show your examiner that you know exactly what you’re talking about- all you have to do is to remember the acronym "CDFASTCAT”.

Here is a breakdown of each aspect and its importance:

This gives the audience some background information on the issue, and “sets the scene” for the article or text. In ANY language analysis article/piece you come across (whether it be in the exam or in practice), there is always a box with the context of the article explained. ALWAYS read it and let it influence your analysis. If you exemplify consideration of the information provided to you in your analysis, you will show a deeper understanding of the issue, and your analysis will be more accurate and detailed. Aim to demonstrate that you understand why the article was written, and its surrounding circumstances.

This gives the article a wider context, and helps the audience understand why the author may have a certain viewpoint. It is also good practice to properly reference the article in your analysis, which includes the date, author, source and title.

The form of a Language Analysis text can vary, from newspaper articles, blogs, comics or even speeches. Each form has its own set of conventions which can help you identify language techniques, and can change the way the message is communicated to the audience. For example, in a speech, the speaker is more likely to directly address their audience than the editor of a newspaper may in an editorial.

When writing a Language Analysis essay (or any essay for that matter), always refer to the author by either their full name, their surname only, or a title and a surname - NEVER by their first name alone. For example: 'Lyle Shelton', 'Mr. Lyle Shelton', 'Mr. Shelton' and 'Shelton' are all okay to use in your essay. However, you would never use 'Lyle' on its own.

The source of a text can influence your understanding of the audience. For example, an article written on a blog about gardening is likely to have a different audience to a financial journal. Including the source is also an important so that the article is properly referenced.

Including the title in the introduction is critical to properly introducing the article. Remember to analyse major techniques in the title if there are any during the body of your essay!

Contention ‍

Identifying the author’s contention can be the most difficult aspect of Language Analysis for many students. The trick is to ask yourself the question 'What is the author’s argument?' If you want to break it down even further, try asking 'What does the author want to change/why/what is it like now/what do they want it to be?'

Depending on the audience, different techniques and appeals may work in different ways. For example, an appeal to the hip-pocket nerve is more likely to have an effect on single parents who are struggling financially than it is on young children or very wealthy people.

You should not include a tone word in your introduction as the author’s tone will shift throughout the text. However, identifying the tone early on is important so that you can later acknowledge any tonal shifts.

Often, articles will include some sort of graphic; it is important that you acknowledge this in your introduction and give a brief description of the image - enough so your analysis can be read and understood on its own. The description of the image is the equivalent of an embedded quote from an article; both are used to provide evidence to support your analysis.

10 Things to Look for in Cartoons is a great resource to help you learn what to look for in graphics. Don't be put-off by the name; you don't need to be studying cartoons specifically in order to learn heaps from this blog post.

If you follow the CDFASTCAT approach, your Language Analysis introductions will become easy to write, straight to the point and full of all the most important information - good luck! ☺

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

• Inheritance of Trauma 
• Identity and Naming
• Memory and Retrospect

Magda Szubanski’s memoir, Reckoning, and Jhumpa Lahiri’s bildungsroman, The Namesake, follow misguided protagonists as they attempt to reconcile and ‘reckon’ with complicated family histories. Magda is burdened by her father’s legacy, whilst Ashoke’s distressing train accident lays the foundation for Gogol’s uncertainty, exposing the inescapable and often inscrutable marks that trauma leaves on the identities of later generations. With a large focus on inherited trauma , identity and memory , we’ll be breaking down some crucial quotes from each of these texts to better understand these key themes. 

For a deeper look into some of the themes in Reckoning and The Namesake , check out this earlier post . And, if you need a refresher on how to properly embed quotes in your writing, take a look at How To Embed Quotes in Your Essay Like a Boss . 

1. Inheritance of Trauma

Whether it be the hardships of war or the adversity of misfortune, both texts observe family timelines steeped in history and trauma. Magda and Gogol are inadvertently burdened by their parents’ experiences, which remain obscure and confusing to the two protagonists and only complicate their identities. 

We were tugboats in the river of history, my father and I, pulling in opposite directions. He needed to forget. I need to remember. For him, only the present moment would set him free. For me, the key lies buried in the past. The only way forward is back. (p. 13)

This quote is intrinsic to the authorial intent behind Szubanski writing her cathartic memoir. The experiences of Magda’s father in war-torn Poland are, as Magda expresses, ‘passed on genetically’. Yet, with Zbigniew’s instinct to ‘[clamp] down tight on all feeling’, his trauma remains unrevealed and unexamined during much of Magda’s life. This impenetrable history impresses onto Magda as intergenerational trauma, which leaves her an ‘unregulated mess’, constantly  ‘ricocheting between feeling nothing and feeling everything’. 

As Magda accurately describes, both she and her father are metaphorical ‘tugboats in the river of history’, drawn in completely opposite directions to resolve their traumas. For her, digging into the ‘buried’ past is vital to understanding her father and herself. As she puts it, ‘the only way forward is back’. This is entirely the opposite for Zbigniew, who is unwilling and unable to articulate his trauma in anything other than ‘incoherent…jottings’ and ‘fragments’. Burdened by his past, Zbigniew prefers living in the present moment where he can suppress and avoid the past. However, this difference in how the two approach trauma leads to a strained father-daughter relationship founded upon a lifetime of misunderstandings and secrecy that only deepen their inability to understand one another. 

‘ Even at that young age,’ Mum told me, ‘I knew, I knew I had done something wrong.’ When she told me this her face caved in, stricken with remorse. Actors can never replicate this look. Meg didn’t punish her, but ‘Oh! The look of disappointment on my poor mother’s face.’ Now, today, more than eighty years later, my mother still feels the stinging sense of guilt.  History repeats. That story of how, when I was six, I got blood on my best dress before a trip to take Dad to hospital. Mum slapped my leg in hasty anger. I understand now, of course, that it was herself she was slapping. Her life-loving, disobedient six-year-old self. We are bookends, she and I. (p. 346)

Intergenerational trauma surfaces as ‘patterns’ within the Szubanski family, where regret and resentment are passed down as ‘hand-me-down trinkets of family and trauma’. Magda uses the metaphor of ‘bookends’ to describe her and her mother’s remarkably similar experiences dealing with familial trauma. In other words, both Magda and Margaret are mirror images of each other, both having a shared experience of supporting and living with ill fathers. When Magda gets ‘blood on [her] best dress’ before another trip to the hospital, Margaret ‘slap[s her] leg’. Although Magda initially mistakes this reaction as ‘hasty anger’, hindsight allows her to understand that Margaret was preoccupied with a ‘stinging sense of guilt’, and was reprimanding herself - the ‘disobedient six-year-old self’ who had similarly ruined her own ‘special dress’. This realisation suggests that even though trauma ‘repeats [like]…history’, there is a generational difference in the way individuals are able to process and respond to situations of grief, poverty and war. 

‍ The Namesake

And suddenly the sound of his pet name, uttered by his father as he has been accustomed to hearing it all his life, means something completely new, bound up with a catastrophe he has unwittingly embodied for years. "Is that what you think of when you think of me?" Gogol asks him. "Do I remind you of that night?" "Not at all," his father says eventually, one hand going to his ribs, a habitual gesture that has baffled Gogol until now. "You remind me of everything that followed." (p. 124)

Just as Magda inherits Zbigniew’s harrowing war experience, Ashoke’s own ‘persistent fear’ from the train derailment that cripples him lives on through his son’s name. His chance rescue whilst ‘clutching a single page of ‘The Overcoat’’ is meaningful and life-altering. For Ashoke, naming his child after the ‘Russian writer who had saved his life’ emphasises his profound appreciation for surviving the accident. His son Gogol is a comforting reminder of ‘everything that followed’. In this way, Gogol acts as a symbol of both redemption and hope, representing Ashoke’s optimistic appraisal of his accident and his determination to make the most of his miraculous rescue. 

But for Gogol, the memory of his father’s accident is entirely foreign and lacks any real meaning for him. His childhood pet name ‘Gogol’ - which he has always resented for making him feel out of place around other kids - suddenly becomes ‘something completely new’ when he discovers the truth about Ashoke’s accident. Gogol feels enormous pressure to live up to his father’s expectations as he represents a ‘catastrophe he has unwittingly embodied for years’. This is the source of much of Gogol’s guilt, confusion and resentment (towards his name, father, family and entire culture) and gradually erodes his sense of self. However, this inscrutability of the past only deepens Ashoke’s and Gogol’s similarity, whilst complicating and straining their father-son dynamic. Ashoke is unable to recognise the burden he has placed on his child, whilst Gogol alternatively cannot appreciate or truly understand being a miracle and source of salvation for Ashoke. Like with Magda and Zbigniew, here, father and child are unable to understand each other, creating a schism in their relationship which they are never able to reconcile. In any case, Lahiri conveys that the actions of enduring and processing trauma are intertwined and often leave permanent traces across future generations.

But Gogol is attached to them. For reasons he cannot explain or necessarily understand, these ancient Puritan spirits, these very first immigrants to America, these bearers of unthinkable, obsolete names, have spoken to him, so much so that in spite of his mother’s disgust he refuses to throw the rubbings away. He rolls them up, takes them upstairs, and puts them in his room, behind his chest of drawers, where he knows his mother will never bother to look, and where they will remain, ignored but protected, gathering dust for years to come. (p. 71)

Lahiri also indicates generational similarities in how individuals relate to trauma. As a second-generation migrant who has always felt displaced from his culture, Gogol’s graveyard field trip allows him to experience a semblance of belonging in Massachusetts for the first time and relate to America’s ‘very first immigrants’. While Ashoke profoundly connects to the Russian writer Nikolai Gogol, his son Gogol refuses to get rid of the etchings of archaic names. These ‘ancient Puritan spirits’ with similarly ‘unthinkable, obsolete names’ like his own provide Gogol with a source of relief and offer proof that he is not alone in his differences. He feels protective of them - conveying his own desires to defend himself against childhood bullies, and also providing a way to preserve this first true moment of belonging. 

Just as ‘The Overcoat’ resonates with Ashoke, Gogol feels connected to the etchings and conceals this single page from his mother Ashima, who is resentful of the peculiar American school excursion. Similarly, Ashoke struggles to convey the deep significance behind his own liberating ‘single page’ from the Russian book. In this way, both pages remain ‘ignored but protected’ and, for both father and son, symbolise the power of literature and storytelling to salvage their profoundly intimate and life-altering moments that are unfathomable to others. 

2. Identity and Naming

Both Reckoning and The Namesake suggest that hasty personal reinventions can only temporarily suppress, rather than truly resolve, trauma. The ‘self-made man’ Gogol strives to be, and the ‘mostly-self created…Little Englishman’ identity that Zbigniew carves for himself, are simply ‘bandaids plastered over’ unresolved grief and hardships. Cut off from family and history, these facades only worsen their inner discontent and complicate identities. 

For my father Australia was love at first sight. The moment we landed he knew he had done the right thing. The blast-furnace heat invigorated him. Only mad dogs and my father would go out in the midday Australian sun. He wouldn’t just go out in it…he would mow the lawn in it. We had a big, bumpy, untamed backyard and when the mercury hit 103 degrees Fahrenheit he’d be out there dragging the lawnmower across every inch of it. Wearing Bombay bloomers and a terry-towelling hat, singing Polish songs over the din of the mower. (p. 44)

Escaping battle-scarred Poland and the origins of his trauma, Zbigniew is a migrant who ‘could not shed his Polishness fast enough’. He ‘crosse[s] the world to get away’ from his destroyed and tarnished home. Zbigniew begins a ‘second life’ as Peter, and like the Polish amber Magda’s cousin gifts her, Zbigniew is ‘transformed by pressure’ (a metaphor for the natural formation of amber) into the ‘Little Englishman’. This persona is a role he takes with grave determination - an echo of the ‘killer instincts’ he suppressed from his abandoned life as a Polish assassin. Bewildering the rest of his family, Zbigniew relishes the ‘invigorat[ing]…blast-furnace heat’ of Australia, and acts the part of a true Aussie in his ‘Bombay bloomers’ and ‘terry-towelling hat’. This characteristically Australian ensemble essentially functions as another battle armour he equips himself with to protect his blemished soul, tainted by a history so ‘bizarrely awful’ that his only way to survive is by ‘clamping down tight’ through an ironclad persona. 

Magda recalls him ‘forever trying to tame th[e] lumpen block’ of ‘untamed’ and ‘unpredictable’ soil in their yard, ‘dragging the lawnmower across every inch’. This crystallises the truth of his life: no matter how committed Zbigniew is to perfecting any project, simply plastering order (trying to tame the lawns by mowing them) over chaos (heat + lumpen, untamed, unpredictable soil) leaves the trauma unresolved.

The rest of it went smoothly and before too long I had my entire sharpie uniform. Only one thing was missing—a Conti. This smart striped cardigan, worn high and tight, was the centrepiece of the ensemble, the definitive wardrobe item of the sharpie. But none was available, not in Croydon anyway. We had to settle for a plain cardie, rolled up at the bottom until it sat under my boobs. I never did get a Conti. I think it was a sign. (p. 126)

Like her father, Magda toys with personas herself. Identity is fluid and inconstant for Magda, often fluctuating between a form Zbigniew would be proud of, one she hopes would trigger any emotional reaction from him, and one desperate to fit within the social climate of Croydon. She cultivates a variety of comic personalities and, like her father, pursues her own ‘tennis madness’ by becoming madly obsessed with the sport and playing competitively. Magda also attempts to embrace the dutiful Catholic ‘good girl’ personality she believes would satisfy her father, but she rebels when he continues to ‘display [no] emotion at all’ and embraces the Sharpie youth gang uprising in her neighbourhood. However, Magda ruefully mocks the contradictory nature of her Sharpie persona, describing her conversion as a hybrid - a ‘convent-school Sharpie’ - rather than the ‘true Sharpie chick’ she aspires to be. But, while all of these personas attempt to unite the ‘disparate, confusing parts’ of her identity, they just suppress the ‘real girl’ behind the mask and leave her more dissociated from herself than ever before. 

Magda goes to great lengths to ‘smoothly’ acquire the perfect Sharpie disguise, but even with the ‘entire Sharpie uniform’, her facade is flawed; she lacks the Conti cardigan, which is the ‘definitive wardrobe item of the sharpie’. Her Sharpie identity becomes a parody of the authentic Australian youth gang. The flaws behind her imitation persona are worsened when Magda tries to replace the Conti ‘centrepiece’ with a simple ‘plain cardie, rolled up at the bottom’. Magda only realises this when she barely avoids a ‘beating’ by a ‘predatory Sharpie’ whilst vulnerable, dressed in her convent-school uniform, and unrecognisable as a fellow gang member. Here, she is finally able to concede that she has only been ‘playing at being a bad girl’ and laments, ‘I never did get a Conti. I think it was a sign’ - wryly foreshadowing the inevitable dissatisfaction of teenage facades. 

The Namesake

"I'm Nikhil now," Gogol says, suddenly depressed by how many more times he will have to say this, asking people to remember, reminding them to forget, feeling as if an errata slip were perpetually pinned to his chest. (p. 119)

Gogol’s place in the world as an ‘American Born Confused Deshi’ (ABCD) is his own ‘awkward [truth]’. Like his own name which he scornfully labels a ‘scratchy tag’, his status as an ‘ABCD’ is another brand he is ‘forced permanently to wear’. He is both ashamed and resentful toward his second-generation migrant identity and feels ‘neither Indian nor American’ whilst mocked for his nickname that is ‘of all things Russian’. Indeed, Gogol’s entire adolescent experience is eclipsed by his confusion about ‘who he is’ as he struggles to obtain any stable foundation for his identity. 

Unlike the costumes and disguises that Magda and Zbigniew embrace, Gogol takes action by solemnly changing his name to Nikhil, the ‘one that should have been’ given to him all those years ago. But even Gogol is acutely aware that this ‘scant’ persona leaves him having to repeatedly reinforce and assure others (and himself) of his identity. Gogol actually rejects the name ‘Nikhil’ on his first day of preschool, foreshadowing the inward dissociation he experiences later in life. He is again ‘afraid to be Nikhil, someone he doesn’t know.’

Similarly, the flask Gogol’s sister Sonia gives to him for his thirtieth birthday, inscribed with his new initials NG, becomes a symbol of his inability to ‘break from that mismatched name’. Lahiri indeed suggests that identities are unavoidably ‘engraved’ with the layered ‘randomness’ of their lives and cannot be easily dissolved. 

And then he returned to New York, to the apartment they’d inhabited together that was now all his. A year later, the shock has worn off, but a sense of failure and shame persists, deep and abiding. There are nights he still falls asleep on the sofa, without deliberation, waking up at three A.M. with the television still on. It is as if a building he’d been responsible for designing has collapsed for all to see. And yet he can’t really blame her. They had both acted on the same impulse, that was their mistake. They had both sought comfort in each other, and in their shared world, perhaps for the sake of novelty, or out of the fear that that world was slowly dying. Still, he wonders how he’s arrived at all this: that he is thirty-two years old, and already married and divorced. His time with her seems like a permanent part of him that no longer has any relevance, or currency. As if that time were a name he’d ceased to use. (pp. 283-284)

For the majority of his life, Gogol alternates between feeling irritation and resentment for his Bengali heritage, and profoundly longing to be truly Indian. Gogol has several failed relationships and romantic encounters: Kim, with whom he introduces himself as Nikhil ‘for the first time in his life’, then Maxine, who attracted him with the ‘gift of accepting her life’. But, like his indulgence of and immersion in the Ratliff’s self-satisfied American life, the interactions with these women feel like a ‘betrayal of his own’ culture, family and identity. 

It is ‘familiarity’ that draws him to Moushumi, a childhood Bengali family friend with whom he ’s[eeks] comfort’ in their shared culture. For Gogol, his relationship with Moushumi represents the possibility of salvaging a childhood he spent disliking, but for Moushumi it’s a betrayal of her principles of independence. She has ‘turn[ed] her back’ her Indian and American ties to embrace a third culture in France, a country with ‘no claim’ on her and none of the cultural pressures of her heritage. 

Gogol longs - ironically - for stability and ‘fall[s] in love with Gothic architecture’; he equates his failed marriage with Moushumi to a ‘building he’d been responsible for designing’. This is essentially Gogol’s way of dealing with the trauma of his divorce, translated into a form he can understand and process. And yet, even a year after their separation, a ‘sense of failure and shame persists, deep and abiding’ - Lahiri suggests that trauma, grief and heartbreak are embedded into our identities and we don’t require a set length of time to accept them. 

Both Moushumi and Gogol come to realise that they were sustained merely by ‘the same impulse’ to erase discomfort, their marriage ‘collaps[ing] for all to see’. Their relationship becomes meaningless and their time together dissolves like a ‘name [Gogol had] ceased to use’. Lahiri conveys that re-entering and recreating a life once discarded (as harshly as Gogol discards his own name) is impossible, even irrational. 

3. Memory and Retrospect

It is no surprise that retrospect and remembrance emerge as central themes in both Reckoning and The Namesake . Gogol’s resented ‘namesake’ itself is a conduit for redemptive memory, whilst Magda ascertains the value of history to ‘salvage’ the present.

I wanted to know; I didn’t want to know. Without realising it I plotted a course somewhere between the two. My father, unable to get any further with his own attempts at a reckoning, had simply closed the door on the past. And now I was about to open that door. (p. 290)

Retrospect specifically becomes a vital motif in Reckoning as Szubanski uses her memoir to ‘join up the dots of [her]self’ and gain perspective on her father’s ‘unresolved and unexamined feelings’. Through her adult perspective, she reflects on her early doubts as she is finally able to appreciate and understand her heritage, reading ‘ Dni Powstania ’ and ‘Exodus’ on the Poles’ shame. Although Magda and Zbigniew ‘[pull] in opposite directions’ for most of her life, only by becoming the ‘collector of [Zbigniew’s]…stories’ and taping his ‘confession’ are the two brought to some level of understanding. Magda is finally able to ‘ rozumiesz ’ (to understand) that her father had ‘never helped the Nazis’, and on some level, ‘feel the feelings [her] father could not allow himself’. Perhaps more importantly, Zbigniew is able to share the paradoxical nature of his guilt - ‘what he had done in the name of good’ - feeling neither ‘ashamed’ nor ‘proud’ of his past. His reflection through the outlook of a ‘half old, half young’ version of himself mirrors Magda’s own introspection - in this sense, the ways in which Magda and Zbigniew are resolving (or at least learning to accept) trauma are ‘repeat[ing like]…history’ in their family. 

I was never told anything much about Luke. But my mother’s eyes—beneath the humour—were haunted by a deep, fretting sadness. Behind the querulous hypervigilance, the nitpicking, the irritability, there cowered a terrified child. A child full of panicky uncertainty about everything. I wanted to reach back and grab her hand and pull her through time and…what? I wanted to hug my mother when she was a child, to tell her everything was all right. (p. 336)

Szubanski observes how generations of poverty and war have shaped her mother’s ‘flinty’, unyielding determination to ‘just…get on with it’ and move on from adversity. Her ‘deep, fretting sadness’ hidden ‘beneath [her] humour’ is compassion and grief for her father, Luke, who ‘woke every night screaming’ after the war. This resonates strongly with Magda because her own father’s war experience mirrors Luke’s. The two families (Magda’s family, and her mother’s family) are forced to ‘[walk] on eggshells for fear of detonating [them]’. 

However, Magda is able to understand that her mother’s capricious tendency to ‘cling like a python then turn and snap like a crocodile’ is a product of her trauma, which allows Magda to understand Margaret’s character on a more intimate and genuine level. Magda, as a neglected and ‘terrified child’ with ‘panicky uncertainty’ herself, empathising with Margaret’s own troubled childhood allows Magda to offer her mother the comfort and support she craved when struggling alone beneath Zbigniew’s ‘exacting…standards’. Through this, Szubanski seems to suggest that although the legacy of trauma is an ongoing and deeply complex process, ‘reach[ing] back’ to process unresolved traumas together becomes a precious and vital way to ‘salvage’ bruised relationships. 

There is no question of skipping this meal; on the contrary, for ten evenings the three of them are strangely hungry, eager to taste the blandness on their plates. It is the one thing that structures their days: the sound of the food being warmed in the microwave, three plates lowered from the cupboard, three glasses filled. The rest of it—the calls, the flowers that are everywhere, the visitors, the hours they spend sitting together in the living room unable to say a word, mean nothing. Without articulating it to one another, they draw comfort from the fact that it is the only time in the day that they are alone, isolated, as a family; even if there are visitors lingering in the house, only the three of them partake of this meal. And only for its duration is their grief slightly abated, the enforced absence of certain foods on their plates conjuring his father's presence somehow. (pp. 180-181)

Even in death, Ashoke’s spirit is able to heal his fractured, grief-ridden family - truly and ultimately ‘transcend[ing] grief’, fulfilling the destiny his name’s meaning set out for him. Surrounded by meaningless condolences and forced sympathy - the ‘calls’, the ‘flowers’ and the ‘visitors’ - the Ganguli family is left ‘unable to say a word’ or process their loss in a safe and judgement-free space. The ‘mourner’s diet’ that sustains them, even in all its ‘blandness’, is able to ‘slightly [abate]’ their grief; it ‘conjur[es Ashoke’s] presence’ and unites the ‘isolated’ Gangulis ‘as a family’. Ironically, these cultural traditions that young Gogol so adamantly refused become the ‘only thing that seems to make sense’. Preserving and honouring Ashoke’s memory, this forsaken custom becomes an unanticipated lifeline for a family torn apart by cultural expectations, irreconcilable differences and shared tragedy. 

"Try to remember it always," he said once Gogol had reached him, leading him slowly back across the breakwater, to where his mother and Sonia stood waiting. "Remember that you and I made this journey, that we went together to a place where there was nowhere left to go." (p. 187)

Unlike Magda and Zbigniew who are able to reconnect in life, Gogol’s own poignant flashbacks with his father are cherished only after his death. However, it is only with this hindsight that Gogol is truly able to appreciate these initially resented, perhaps forgotten, moments as meaningful connections to his family. Gogol’s relationship with his father is tragically underpinned by a lifetime of misinterpretations and misunderstood trauma, the two unable to understand each other’s disparate outlooks on life and culture. However, when they visit Cape Cod both Gogol and Ashoke are, if only momentarily, pioneers. They are exposed to the world, just as Ashoke had been when he migrated to America; the two travelling ‘together to a place where there was nowhere left to go’. 

Gogol indeed grapples with a desire for stability and meaning throughout his entire life, bewildered by the ‘unintended’ series of ‘defining and distressing’ events. However, family indeed becomes the source of true security for Gogol. ‘Remember[ing]…always’, he preserves the memory of his father, and resistant to time and change, it remains a comforting constant amidst the ‘randomness’ that characterises and complicates his family’s life.

Most people aren’t particularly confident in giving orals or public speaking in general. I began year 7 as a shy girl scoring a lousy 50% in her first English oral. It wasn’t until later on that I realised; even though I can write an  amazing  piece, it was my delivery and nerves that failed me. In year 9, I entered my first public speaking competition, and have been participating in such competitions ever since. I may not have won those, but it got me comfortable standing in front of people without shaking like someone with hypothermia. Now, I am achieving A+ on my oral assessments and am even on the SRC as Student Action Captain due to a great captaincy speech. Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

A few tips on writing your speech:

• Have a CAPTIVATING introduction sentence; use a short, clear and powerful sentence.
• RELATE to your audience so that it keeps them interested so they actually WANT to listen.
•  If you are taking on a persona, firstly study and UNDERSTAND your character.
• Don’t forget your persuasive techniques. I usually use repetition in conjunction with the ‘rule of three’.
• Remember that you are writing a SPEECH, not an essay. Instill your oral with emotion, varied tone and and sentence lengths.

In fact, I've talked about a few of these in a 'Must Dos and Don'ts' video. If you haven't seen it yet, watch before you read on:

A few tips on your performance:

Memorise your speech.

Always remember that practice makes perfect. Practise as much as possible; in front of anyone and everyone including yourself (use a mirror). Keep practising until you can recite it.

As for cue cards,  use dot points . Don’t just copy and paste whole sentences onto cue cards or else you’ll rely on them too much. Not to mention that it’ll be hard finding out where you are in the middle of your speech. Use “ trigger words ” so that if you forget your next point, you have something there.

But most importantly, if you mess up,  keep going . Even if you screw up a word or suddenly forget your next point, just take a breath, correct yourself, and keep going.  Do not giggle . If your friends make you laugh, don’t look at them.

Control your voice

Do not be monotone . Give it some energy;  be pumped  but not “I-just-downed-5-cans-of-V” pumped. Give it as much energy as it is appropriate for your speech. As you transition through various intense emotions such as anger, happiness and shock, your performance should reflect it. This is achieved in both your tone and your body language (moving around).

Speak as if you believe in your contention – with  passion . Even if it’s just full of crap, if you sound confident, then your audience think, ‘wow, they sure know what they’re talking about’. Remember,  confidence is key .

Don’t rush  through your speech and speak at a million kilometres an hour – or even worse; skipping half of your speech because you just want to get the hell out of there. And also, speak so that the teacher can actually  hear  you. More likely than not, they’ll be sitting somewhere near the back of the room. After countless “too quiet” comments on my orals, I have finally mastered the art/power of projecting my voice. And it actually  does  make a huge difference.

Be aware of your actions

Don’t just stand like a statue in one spot.  Think about real life – do you know anyone that stands completely and utterly still when talking to you? Make sure you  look around  the room; you’re addressing everyone, not just one person. Don’t stare at your teacher;  it freaks them out . You don’t even have to look at a specific place. I usually just start off looking at the back wall… then as I go through the speech, I naturally turn from one back corner of the room to the other. Also, try not to look down. Don’t try to look at your cue cards while they’re right up next to your body. Move it out when you need to have a  GLANCE  at them then go back to the audience.

I’ve seen some people pace. This seems alright (though I’ve never done it myself); but always make sure that you  face the audience . If you’re doing a monologue (for text response), you can sit down… just don’t sit for your entire piece.

And some natural hand gestures don’t hurt either!

I’ve also heard of some people running around or on the spot about 15mins before a speech. This serves to help with your heart rate by using up all that ‘energy’. Personally, I close my eyes and concentrate on my breathing (so that my heart isn’t jumping out of my chest). Take some long, deep breaths and tell yourself that you can do it!

My teacher also showed me this speech:  “The girl who silenced the world for 5 minutes” . Even though she made a couple mistakes in her speech, she kept going and captivated the attention of the UN. Take a look and be inspired!! 

What's next? Make sure you've got a great oral presentation topic . We've done all the hard work for you and compiled 20 of the best topics for 2017 . Access it now!

As non-native speakers living and studying in Australia, we would want nothing more than to improve our English skills both for the comfort of living in an English-speaking country and our career prospects. This blog aims to change the belief that only the naturally talented language learners can do well in the EAL exams and helps ESL speakers better their writing skills.

Contents of this study guide:

• Knowing Your Sentence Structure
• Expand Your vocabulary
• Build Your Own 'Essay Formulas'

1. Knowing Your Sentence Structure ‍

I cannot stress how important it really is to really know your sentence structure and grammar because, without a solid understanding of how it is supposed to be structured, grammatical errors can easily be made which will preclude you from articulating your ideas in the clearest manner possible.

Simplest form: Subject + Verb + Object

Example: Arthur Miller’s play The Crucible (S) is (V) an allegory for the McCarthyism trials (O). ‍

While not all sentences have objects, it is not a sentence without a subject and a verb that goes with that subject. Sometimes you can have more than one subject or more than one objects:

Variation 1: Subject 1 + Subject 2 + Verb + Object or Subject 1 + Verb + Object 1 + Object 2

Example: Both To Kill a Mocking Bird (S1) and V for Vendetta (S2) present (V) a strong protagonist (O1) that advocate for their beliefs.

Example: The eponymous character Medea (S1) is (V) a diatribe against the patriarchal society (O1) and a paradigm of Hellenic women (O2).

Dependent clauses and linking phrases can also be added to improve the flow of your writing and enrich your ideas. They can also be used to ensure that your writing remains concise and coherent.

Variation 2: Clause + Subject + Verb + Object or Subject + Verb + Object + Clause  

Examples of dependent clauses:

- In addition (C), Brooks (S) also demonstrates (V) the ways in which individuals can start questioning their ideology in time of crisis (O).

- Set in a patriarchal society (C), Women of Troy (S) warns (V) the audience of the detrimental consequences of wars and the ways in which innocent bystanders are affected by them (O).

- As the story unveils (C), it (S) becomes (V) more difficult for the audience to sympathise with the titular character (O) due to his many flaws (C).

Examples of linking words:

EMPHASIS: Undoubtedly, Particularly, In particular, Specifically, Especially, Obviously, Clearly

ADDITION : Additionally, In addition, Furthermore, Also, Plus, Moreover, Besides

‍ CONTRAST : Unlike, Nevertheless, On the other had, Conversely, Despite, In spite of, Whereas

It never hurts to have some sentence structured memorized if you are not yet fluent. For instance, have a few sentence formulas for each essay type that will be in the exams.

Text response:

- In particular, the protagonist (verb) (object), which enables the audience to (verb).

- This thereby (verb) the audience to (verb).

- While the character (verb) (object), the audience still (verb) as (pronoun) (verb).

- From the outset of the (text type), the writer presents (character’s name) as (adjective), (verb +ing) the audience to (verb).

- This is epitomized/ exemplified through the way in which the writer (EVIDENCE), seeking to (EFFECTS ON READERS) through (TECHNIQUE)

Language Analysis:

- By (TECHNIQUE + EVIDENCE), the writer (ARGUMENT e.g. fortify the notion that technology is more beneficial than detrimental ), thereby (EFFECTS ON THE AUDIENCE)

- So as to (ARGUMENT e.g. amplify the cataclysmic effects of such behaviours on the society), the write (TECHNIQUE) This in turn/ thereby/ therefore (EFFECTS ON READERS) as EVIDENCE e.g. the writer posits _______).

- Compounding this notion with (TECHNIQUE) the writer ARGUMENT) in order to (EFFECTS ON THE AUDIENCE) as the (EVIDENCE e.g. term “slaughter” invokes connotations of brutality and destruction).

- This notion is bolstered/ fortified/ augmented/ amplified/ accentuated/ magnified through (TECHNIQUE/EVIDENCE).

2. Expand Your Vocabulary

While it is sometimes helpful to memorise words from glossaries found on the Internet, it is not the most the effective way to thoroughly improve your vocabulary. In fact, learning words from a glossary or dictionary by heart can often lead to students misusing the words due to their misinterpretation of the new words.

From what I’ve seen from my and other students’ experience, the best way to upgrade your word bank for your essays is to slowly word up from what you already know. Start off with a simple paragraph and you will see your writing get better after every time you edit or rewrite your paragraphs.

Avoid generic verbs

Words like “make” or “create” should be avoided at all cost because there are often words with connotation that can replace generic terms. For instance, instead of saying “the writer makes the audience sympathise with the characters, you can say “the writer compels the audience to sympathise with the characters”. Replacing words like “make” with words like “compel” improves your writing because unlike the first sentence which only mentions how the audience feel, the second sentence also focuses on the writer’s intention as the writer is using force or pressure to ensure the audience feels obliged to sympathise with the characters. It is always better to expand your vocab from what you already know rather than learning completely new words with new meanings you have never seen before.

Know the word’s connotations

Most English words have really clear connotation. An example of this would be how the term “slaughter” invokes connotation of brutality and destruction while the term “kill” does not evoke as many feelings within the reader.

Use strong adjectives ‍

This is a way to avoid using generic adverbs such as “very” and “extremely”. “Exquisite” is a much more poetic sounding term than “very pretty” and “daunting” is better than “hard”. Having descriptive and expressive words at the back of your head will enable you to write paragraphs that will resonate within the readers, and by extension, boost your EAL results. I would highly recommend you build your own personal word bank for each of the writing section and re-use those words as many times as possible so those words stay engrained in your mind, making it much easier for you to look for words to write under exam condition.

It is also important to note that there is no fast-track way to improve your writing because memorizing a deck of vocabulary flashcards or a Quizlet topic will not get you what you want regardless of how good your memory is. Out of all the ‘fancy’ words that you learn from a glossary like that, you will probably only remember and use 1 or 2 of them. Vocabulary exercises will help you much more! You need to spend time practice using the words for them to be deeply engrained in your knowledge, which will in turn enable you to instinctively come up with better words to use.

If you’ve got a bit of extra time every week to work in your vocabulary, I recommend using the following books:

- Cambridge English Vocabulary in Use ( Elementary or Intermediate ): This book is suitable for students whose English is not yet fluent and proficient. Each of the topic only has a small group of words and there are short exercises that allow you to better remember the words.

- Cambridge English Collocation in Use (Intermediate) : This book is suitable for mostly everyone because collocations not only will help you show off your English but will also improve your flow and coherence. For instance, “commit a murder” is a collocation, a group of words that go well together. It is not ideal to replace “commit” with anything else because “make a murder” just does not sound right.

- Sadlier Vocabulary Workshop (Level D to Level H): This series of books are not for ESL learners. They aim to strengthen native speakers’ writing skills and vocabulary, which thereby means that they are much more difficult. If you are already fluent and proficient, I highly recommend these books because they have a range of reading comprehension exercises that focus on a group of words and offer you heaps of exercises to practice that particularly group of words in different context as well! (Kill two birds with one stone because this will definitely help you nail that Section C short answer task!)

However, I do understand if you do not have the luxury of time, year 12 is hectic and is never a breeze. If that is the case though, try doing the following steps after finishing every of your essay.

1. Write that one “perfect” essay – doesn’t matter if you take days to finish it

2. Have it marked by your teacher/ tutor and read their feedback

3. Edit your essay/ rewrite them where you take into account people’s feedback – look at sample essays while you work on that one essay

4. Get feedback again!

5. Look at your newly improved essay and highlight all the points and vocabs that your teacher considered as good

6. Write your second essay while trying to use those good points and vocab that you had from your previous essay, you will find that you will not take you way too much time. You can also re-use the structure of your introduction to save time coming up with a new one. Just be careful with your coherence and relevance

7. Repeat the process again!

Well, that’s how I did it do keep in mind that it is merely a suggestion, but everyone is different in away so please do find what works best for you.

English grammar is often seen as one of the more challenging one due to it having so many tenses and irregular cases. However, if you know how to break it down, it is not that scary because there are actually only 13 tenses and future, past and present tenses. Plus, in our EAL exams, we rarely need to use any other tenses aside from the present tenses anyway.

Also, it is important to pay attention to your subject verb agreement. While it is not a common error for EAL students, many students make careless errors such as this under time pressure. You would be surprised how rusty your writing can get when you are trying to write 700+ words within an hour! If your subject is singular, your verb must also be singular. Compare the following sentences:

WRONG: Hecuba and Helen is both responsible for the Fall of Troy.

CORRECT: Hecuba and Helen are both responsible for the Fall of Troy.

The main takeaway message is that if grammar is not your thing, you should definitely not try to overcomplicate things and because fluency and simplicity are much better than errors and verbosity.

4. Build Your Own ‘Essay Formulas’

In other words, you can try ‘rote-learning’. It saves time and it can ensure that the quality of your writing under exam conditions match up to your actual ability. It worked really well for me as a safe guard because I have a history of freaking out and underperforming in exams. Having pieces of analysis and paragraphs structure at the back of my head definitely saved me whenever I felt sick or overly stressed in SACs and exams.

WARNING: While it saves you so much time and guarantees better outcomes for some people, you should be extra cautious if you decide to use this as a way to tackle the essay sections in the EAL exams because you can also easily fall into the trap of writing essays that sound memorised. This is merely a suggestion different people learn differently – this is what I and some of my peers did and it worked well for us but it does not mean that it will guarantee you an A+.

For each Area of Study, I have a revision document that contains the following:

• Introduction ‘formula’
• Sample paragraph
• Super extensive word bank (my own thesaurus)
• Practice essays and sample essays

For example, prior to my text response SAC on Euripides’ play Medea, I prepared a writing formula that can be applied to all of my Medea essays that look something like this: ‍

Introduction: Set in a patriarchal society, Euripides’ tragedy Medea expounds the intricate concepts of (theme) through the (characterization of the protagonist/ depiction the norms that pervade the Hellenic society/ vilification of Jason/ victimization of Medea/ portrayal of Medea as the archetypal woman). In particular, he _________________________ , which enables the audience to _____________ . While (argument 1) and (argument 2), (challenge the prompt). Ultimately, Euripides presents an acerbic critique on _________ . ‍

For each of the section, I also have a mini thesaurus of words that I often use. This is just an example. I recommend creating one by yourself that has around 5-10 words in each row if that is possible!

Persuade: compel, propel, manoeuvre, prompt, galvanise, etc

Strengthen: fortify, enhance, bolster, etc

Highlight: underline, underscore, accentuate, emphasise, etc

Tell: insinuate, assert, purport, articulate, etc

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Frankenstein Essay

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W hy's T his F unny?

The Definitive Guide to Analysing Frankenstein for Your English Essay

Are you studying ‘Frankenstein’ for English but have no idea how to come up with an analysis for your essay? Look no further as we’ve got you covered with a summary of Frankenstein, and we’ll walk you through the key characters, context, themes and a  step-by-step guide on how to perfect your analysis.

PLUS, we’ll provide you with a sample analysis table (also called a TEE table ) and a sample paragraph for Frankenstein!

So, what are you waiting for? It’s time to ace your analysis of Frankenstein — let’s jump into it!

Frankenstein Summary Key Characters in Frankenstein Context Themes Explored in Frankenstein Essay Analysis of Frankenstein Studying this Text for the HSC

Summary of Frankenstein

The text is told in an epistolary narrative form using three narrators: Robert Walton, Victor Frankenstein, and the monster. The novel begins with a series of letters by Walton, an arctic explorer, to his sister. He writes of his encounter with a weakened Victor on the ice, who he nurses back to health aboard ship.

Victor’s Perspective

The narration shifts to Victor as he begins his tale, beginning with his nurturing and idyllic childhood with Elizabeth Lavenza, his adopted sister, and Henry Clerval, his best friend. Victor attends the university of Ingolstadt where he becomes engrossed in natural philosophy and chemistry and isolate himself from his family.

He becomes consumed with the pursuit of scientific knowledge and decides to create human life by fashioning the body from corpses. After bringing the monster to life, Victor is horrified by the sight of him and runs away, falling into a hysterical fever after the monster’s disappearance.

After his recovery, Victor prepares to return home to Geneva when he receives a letter from his father telling him that his youngest brother, William, has been murdered. On his way to his family house, Victor sees the gigantic figure of the monster lurking in the woods and is certain that he is William’s murderer.

He soon discovers that Justine Moritz, the family’s trusted servant, has been accused of William’s murder and is executed after her trial. Victor becomes tortured by grief and escapes to the Alpine valley of Chamonix. The monster approaches him and eloquently proclaims that he is intrinsically benevolent but turned cruel due to his suffering.

The Monster’s Perspective

The narration turns to the monster’s perspective as he recounts the beginning of his life and his refuge at the cottage of the De Lacey’s. Seeking love and companionship, the monster yearns to learn their language and gains knowledge by reading books, learning of his creation by reading Victor’s laboratory journal.

After summoning the courage to speak to the cottagers, he is rejected and violently beaten, forcing him to flee. The monster becomes possessed by revenge and travels to Geneva to find Victor, strangling William after he screamed in terror.

The monster ends his tale by b egging Victor to create a female monster for him to have as a companion.

Access the Frankenstein Downloadable Sample Paragraph and Examples of Analysis here!

Back to Victor’s Perspective

Victor resumes his narration and initially refuses but eventually agrees. Victor and Henry travel to Scotland, where Victor isolates himself to work on creating his second monster.

One night, Victor is horrified to see the monster grinning at him through the window and destroys the half-finished creation. Furious, the monster vows that he will be with Victor on his wedding night.

Later that night, Victor disposes of the remains out at sea and is drifted into dangerous waters, but he manages to land safely near an unknown town. Upon arrival, he is arrested for the murder of Henry, who has been strangled to death by the monster. Victor suffers a feverish illness in prison before being cleared of all criminal charges.

Victor returns home to Geneva with his father and marries Elizabeth. Fearing the monster’s threat, Victor sends Elizabeth away to her bedroom, yet he hears her scream and realises his fatal mistake. Soon after Victor’s father dies of grief, he resolves to devote his life to the creature’s destruction.

Victor tracks the monster on the ice and chases after him with his dogsled , but the ice breaks and Victor is set adrift. He is near death before Walton’s ship appears and saves him.

Walton’s Letters

The end of the story is told through Walton’s letters, where it’s learned that Victor has died. Soon after, Walton discovers the monster weeping over Victor’s body, who asks him for forgiveness.

He tells Walton of his suffering and vows to kill himself, disappearing out into the ice.

Key Characters in Frankenstein

Victor Frankenstein The main narrator of the text, Victor, is responsible for creating and abandoning the monster. In contrast with his happy childhood, Victor’s obsession with scientific pursuit leads him to overstep natural boundaries and results in his family and friends’ tragic loss of lives.

The monster A gigantic hideous creature formed from dead body parts; the monster is Victor’s abandoned creation who was thrust into the unknown world. The monster is inherently good and seeks acceptance from society, but his constant rejection and hostility from humans drives him to take revenge on Victor.

Robert Walton Opening and closing ‘Frankenstein’, Walton is an arctic explorer who records the tales of Victor and the monster in a series of letters to his sister.

Elizabeth Lavenza Elizabeth is Victor’s adopted sister and wife, described as a caring young woman who is wholly devoted to Victor. She is murdered by the monster on their honeymoon.

Henry Clerval Victor’s best friend and intellectual foil, Henry supports Victor in his times of need and nurses him back to health. The monster kills him after Victor destroys the second monster.

Context of Frankenstein

Frankenstein is set during the 18th century and engages with many of the important ideas and thinkers of the Romantic period . This literary and philosophical period was marked by political, economic, scientific, and social enlightenment that emphasised reason and individualism.

How Frankenstein Came to Be

Considered one of the first science-fiction novels, Mary Shelley’s Frankenstein began as a simple ghost story.

In 1816, the revolutionary lyrical poet Percy Bysshe Shelley travelled with his wife Mary to visit his friend Lord Byron in Switzerland. Due to the constant rain that kept them indoors, Byron suggested a ghost story contest to entertain themselves.

Based on a nightmare, Mary’s story won the contest, and she was encouraged to turn it into a full-length novel , which she did.

The daughter of the radical feminist Mary Wollstonecraft and radical philosopher William Godwin, Mary’s writing was heavily influenced by her parent’s writing and exposure to revolutionary thinkers . Frankenstein draws upon various philosophical ideas about childhood development, identity, and education, notably through the works of Jean-Jacques Rosseau and John Locke.

Other Influences

The prominence of scientific rationalism in Frankenstein was influenced by Luigi Galvani’s reanimation of dead tissue by applying electricity to a dead frog . Shaped by contemporary developments in scientific progress and discovery, Frankenstein serves as a cautionary tale for relying on scientific education divorced from moral values.

Frankenstein also draws upon the ideals of the Romantic Movement and the French Revolution during the 18th and 19th centuries. Victor’s creation of the monster implies defiance towards religion and a push towards enlightenment and rationality.

The novel is linked to two creation texts: the Greek myth of Prometheus and the Biblical creation story recounted in Milton’s ‘Paradise Lost’.

Image sourced from BBC Science Focus Magazine

Themes Explored in Frankenstein

As a novel, several structural, contextual, and literary elements aid in deconstructing the major themes of the text.

In Frankenstein, the use of multiple narrators, foreshadowing, symbolism, intertextuality, and allusions create parallels and connections to fundamental ideas of significant social and political upheaval.

Below are some of the key themes from Frankenstein that make for a strong starting point to structure your essay analysis:

• Pursuit of knowledge
• Sublime nature
• Responsibility

How to Analyse Frankenstein in 3 Steps for Your Essay

Students often try to start with their thesis while attempting to answer an essay question. Instead, you should use your analysis as the starting point!

Analysing your text is a great way to gain an in-depth understanding of its meaning before you begin to answer anything about it.

After you’ve analysed your text, you will be able to build on its themes and construct a strong thesis!

We’re going to walk you through creating an essay analysis for Frankenstein in three simple steps!

Step 1: Choose your example

When choosing your example, a pro tip is to search for an excerpt that contains a technique. Techniques are the key to helping you dig deeper into what meaning the composer is trying to convey.

We have chosen to look at two quotes that compare Victor to God:

“Wretched devil! You reproach me with your creation, come on, then, that I may extinguish the spark which I so negligently bestowed.”

“Remember, that I am thy creature: I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed.”

Step 2: Identify your technique(s)

When trying to locate a technique within your example, the best method is to identify a technique that enables you to uncover a deeper subtext of your work and elevate your argument and analysis.

Rather than referencing simple language techniques like alliteration and rhyme, try searching for techniques that unveil symbolic meanings like metaphors, motifs, allusions, and intertextuality.

We have identified three techniques in the two quotes above for our Frankenstein essay analysis: allusion, symbolism and metaphor.

It’s always better to try and find multiple techniques in your quotes rather than just one, so you can really show off your analysis skills!

Check out our list of literary techniques here!

Step 3: Write the analysis

When you write your analysis, the key focus should be on what effect the technique has. Simply labelling what technique you’re using is not analysing and will award you minimal marks.

Technique labelling would look like this:

The allusion of Victor to Prometheus and God is shown through Victor’s threat to “extinguish the spark” as symbolic of Prometheus’s forbidden power and the metaphor of the monster as “the fallen angel” as a reference to Milton’s ‘Paradise Lost’.

Instead of labelling, we need to flesh out how each technique allows a closer reading of the text.

Firstly, the allusions are important as they provide a familiar narrative in which we can view the characterisation of Victor as God and the monster as his creation.

The symbolism of Victor’s threat to ‘extinguish the spark which I so negligently bestowed’ is important because it parallels Prometheus as a representation of a figure that disrupts the natural order.

The metaphor of the monster as “the fallen angel” is significant because it alludes to Milton’s ‘Paradise Lost’ and suggests that Victor has failed in his moral duty and responsibility as the creator.

So if we included all that in our analysis, it looks like:

Victor’s characterisation as God serves as an allusion to the creation texts of the Prometheus myth and the Biblical creation story referenced in Milton’s ‘Paradise Lost’. Victor’s threat to “extinguish the spark which I so negligently bestowed” parallels Prometheus and symbolises Victor’s challenging of the natural order and transgression of forbidden territory by playing God. The monster’s plea to Victor that “I ought to be thy Adam, but I am rather the fallen angel” is a metaphor that alludes to Adam’s lament to God referenced in Milton’s ‘Paradise Lost’. The monster’s likening to Adam prompts Victor to evaluate his moral duty and responsibility as the creator.  

Studying this text for HSC Extension English

If you’re studying this text for the HSC Extension English , when writing an essay on Frankenstein, you’ll need to connect your ideas to the rubric. We’ve included the rubric below to refresh your memory!

Link #1: Seeking unity, certainty, solace, justice or restoration

The monster’s experience in Frankenstein is wholly based on his journey to seek unity, certainty, solace, justice and restoration. The monster begins his life seeking unity and companionship, with his pursuit for knowledge and humanity displaying his genuine desire to participate in society .

However, the hostile responses of individuals exemplify his rejection and isolation from society.

The monster’s inability to find acceptance fuels his desire for destructive justice against his creator to restore his world of upheaval.

Link #2: Represent shifting values, contexts and attitudes

Containing elements of Romanticism, Gothicism and Science Fiction, Frankenstein is a revolutionary novel that heavily draws upon the shifting values, contexts, and attitudes of society during the Age of Enlightenment. The novel reflects the growth of ideas centred on reason, progress, and liberty during a period of significant scientific and technological advancement.

Rather than simply celebrating these values, Shelley critically represents attitudes of concern towards rapid scientific development by warning of the danger of overstepping human potential.

Need some help analysing other texts?

Check out other texts we’ve created guides for below:

• Romeo and Juliet
• Lord of the Flies
• Little Miss Sunshine
• In Cold Blood
• The Book Thief
• The Tempest
• Blade Runner
• Jasper Jones

Are you looking for some extra help with your essay analysis of Frankenstein?

We have an incredible team of tutors and mentors.

We can help you master your essay analysis of Frankenstein by taking you through the summary, context, key characters and themes. We’ll also help you ace your upcoming English assessments with personalised lessons conducted one-on-one in your home or online!

We’ve supported over  8,000 students over the last 11 years , and on average our students score mark improvements of over 20%!

To find out more and get started with an inspirational tutor and mentor,   get in touch today  or give us a ring on  1300 267 888!

Ashley Sullivan is a Content Writer for Art of Smart Education and is currently undertaking a double degree in Communications (Journalism) and a Bachelor of Laws at UTS. Ashley’s articles have been published in The Comma and Central News. She is a film, fashion and fiction enthusiast who enjoys learning about philosophy, psychology and unsolved mysteries in her spare time.

• Topics: ✏️ English , ✍️ Learn

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The Analysis of Frankenstein

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Frankenstein - Free Essay Samples And Topic Ideas

Frankenstein is a novel by Mary Shelley, often heralded as one of the first pieces of science fiction, exploring themes of creation, ambition, and the moral implications of scientific advancement. Essays on “Frankenstein” could delve into these themes, the character analysis of Victor Frankenstein and the Creature, and the novel’s enduring legacy in literature and popular culture. Moreover, discussions might extend to the novel’s influence on the genre of science fiction and horror. A substantial compilation of free essay instances related to Frankenstein you can find at Papersowl. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

Novel “Frankenstein” : Roles of Gender

Throughout reading the novel Frankenstein, I thought it was indeed interesting how Mary Shelley incorporated themes of gender and the aspect of creation. Mary Shelley uses her own life experiences to shape her works and to gain ideas to integrate social issues into her work. Mary Shelley portrays the problems and incorporates them throughout the book and touches on the aspect of social hierarchies of gender, which inherently value men over women. In Mary Shelley's Frankenstein, issues of gender and […]

Who is the Real Monster in Frankenstein

Monsters in literature are normally characterized as a creature that possesses some type of inhuman qualities or deformities, is perceived as evil, and has no compassion for mankind. The term monster can also refer to a person who has done a terrible thing in life that poorly affects others around them. In literature, outcasts are people who are not wanted and are rejected by society. In the novel Frankenstein, by Mary Shelley, many readers label the creature as a monster […]

The American and the French Revolutions

The right of revolution was an idea proposed by Enlightenment Philosopher John Locke, which inspired and challenged the colonies in America and the people of France to revolt. Displeased with their current positions with their governments, they mustered up the courage and strength to challenge authority. Through their battles and hardships, both revolutions sought a government that mirrored the Enlightenment beliefs of natural rights, power of the people, and equality. With those goals in mind, they demonstrated the idea that […]

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Gothic Elements in Frankenstein

Mary Shelley lived and wrote her novel Frankenstein during the peak of the romantic era of literature in the early 1800's. She shows this as her work reflects many of the key elements that are associated with romanticism. In Frankenstein, Shelley also utilizes many of the elements of gothic literature. Shelley uses many of the conventions aligned with romantic and gothic literature in Frankenstein's setting, subject matter, characterization, and plot to portray her overall tone and mood in the novel. […]

Physical Appearance in Frankenstein

The main theme in Mary Shelley's Frankenstein is the importance of appearance which correlates to the idea of acceptance in modern society. Today's society, as well as in the society of Frankenstein, people judge one often solely on their looks. Social prejudice is often based on looks, whether it be the pigments that make up someone's skin color, the facial features that one has and the clothes that a person wears. Society makes rapid judgments based on these and other […]

Differences between French, Russian and American Revolutions

A revolution is a successful attempt made by a large group of people to change / challenge the political system of their country. People who are willing to engage and take action in a revolution are trying to fix the struggles in justice, reminding people not to forget the future against the past. People who want to change the political system are looking out for the future of their country. Revolution was the only way average people or citizens felt […]

Frankenstein Revenge

In her novel ?Frankenstein?, Mary Shelley shows that both Frankenstein and his creature are obsessed with revenge through their strong emotional language and obsessive actions, yet neither of them wins and gets revenge in the end. After Victor Frankenstein is threatened by the creature after destroying his nearly complete bride, Frankenstein states that he “?burned with rage to pursue the murderer of my peace and precipitate him into the ocean. I walked up and down my room hastily and perturbed, […]

Family Relations and Alienation in “Frankenstein”

In today's fast-paced world, it is important to build connections and relationships with people and society. Being able to bond with surroundings, is key for living a healthy and happy life. Family is what helps humans build their foundations and are able to learn and succeed with the support of them. In Mary Shelley's novel, Frankenstein, the lack of connection the characters have to either their family or society leads them to murder, hopelessness and tragedy. Specifically Victor and his […]

Shelley about Romanticism Versus the Enlightenment

In the novel, "Frankenstein," Mary Shelley uses various elements of both mysterious and romantic literature to convey her indictment of the Enlightenment thinking over the use of her characters displayed throughout the novel. Being written in the time of the Romantic era, Shelley uses vivid language to portray her objection of the Enlightenment age as it influenced many people to use logical reasoning and science to disregard barbarism and superstition from the World. In Frankenstein, Shelley's response to this ideology […]

Frankenstein Dangerous Knowledge

Isolation is a dangerous act. Whether it is forced by the ones around us or a choice made by us to be alone isolation separates the victim from society damaging them emotionally. In Mary Shelley’s Frankenstein, the monster, Frankenstein's monster, comes to know the true act of isolation. The monster was not only cast out by the townspeople but by his creator. Their prejudiced views of the monster as only that, a monster, turned him into what they truly sought […]

Frankenstein Isolation

One theme presented in Marry Shelley's book Frankenstein is the theme of isolation. Right from the beginning, someone has felt isolated from someone else. The three characters consistently developed the theme of isolation are Victor, the Creature, and Elizabeth. Though the three experience isolation, their isolation experience differs. Unlike the Creature and Elizabeth, Victor chose to isolate himself from people. This is evidenced from right when he was working on his research and when he tries to create a life. […]

Dark Romanticism

“Words have no power to impress the mind without the exquisite horror of their reality” (Edgar Allan Poe). Dark Romanticism is a literary movement that made waves that still resonate today within modern horror and pop culture, from Frankenstein to Dracula many recognizable names came from this era of writing. From the subjects covered by the many influential authors of the era to how it still has a place within modern writing, Dark Romanticism, a writing movement that began in […]

Feminism Represented through Frankenstein Characters

Frankenstein is known all over for being about a monster that loses control and kills people, but no one talks about some of the topics that Mary Shelley portrays in the novel. This book seems male dominant. The females play a big role, but not in the way that big roles are usually played. Women seem to hide from playing a part in Frankenstein, but Mary Shelley finds a way to display feminism in the book and that is how […]

Discrimination and Prejudice in Frankenstein

During our human history, prejudice and discrimination have existed. Prejudice refers to the irrational and inflexible attitudes that members of a particular group hold about members of another group (Sibley and Duckitt 248). Prejudices are either harmful or positive. Both forms of prejudice are usually preconceived by the people who hold them and are extremely difficult to alter (Stephan, Cookie and Stephan 33). The negative form of prejudices leads to discrimination- unjust behaviors that holders of negative prejudice direct against […]

Philosophy of Dualism and Materialism in “Frankenstein”

In Mary Shelley's novel Frankenstein, the philosophies of dualism and materialism can be found through the story's main characters, Victor Frankenstein and the Creature. Throughout the novel, the decisions that both make and their justifications for those decisions are rooted in both dualistic and materialistic ideas. In the scene leading up to the creation to the Creature as well as the scene itself, much of Victor's decision to even try such a feit stems from a materialistic standpoint, using science […]

The French Revolution Within Frankenstein

Almost twenty years after the end of the French Revolution, Mary Shelley published her gothic horror novel, Frankenstein, in 1818. Shelley grew up with parents who were intellectual radicals (Sterrenburg 143). Yet, she was detached from radicalism and opted for a more conservative perspective (Sterrenburg 143). She did a vast amount of readings on the French Revolution (Sterrenburg 143). By extensively studying the ideas around the revolution, it is not a surprise that they appear embedded through her work, more […]

American, French and Mexican Revolutions

When it comes to the American Revolution, there was one individual that gave American people an idea of what they should be fighting for. John Locke’s idea of “life, liberty, and estate” heavily inspired Thomas Jefferson’s “life, liberty, and the pursuit of happiness” when fighting against the British. So why did the Americans revolt? What beliefs did they have? One thing the American, French, and Mexican revolutions have in common is that their governments were corrupt. The Colonists called for […]

The Role of Science in Frankenstein

Mary Shelley tells a story of a scientist who creates a hideous creature in the novel Frankenstein. Victor Frankenstein is an amazing, smart scientist who admired human anatomy, and soon decided to create his own creature. Who is more at fault for the monsters behavior, Victor or the monster? If you were in the monsters position would you become a murderer for revenge? The monster is often viewed as the antagonist, however is Victor Frankenstein the reason many people in […]

Frankenstein and Gothic Literature

The character's identity and outward appearance interferes with the norms of the hierarchical societies in which they live. Thus, preventing them from experiencing life outside of the isolated confinement they are subjected to. While experiencing a constant conflict with acceptance it strikes the curiosity inside them. In Mary Shelley's Frankenstein, the experience of loneliness and obsession of science drives Victor Frankenstein to assume the role of God by reanimating a corpse. The horror presented derives from the source of control […]

Creation of Life in “Frankenstein”

The next major aspect of the novel that I would like to focus on is the creation of Frankenstein. This will include dissecting the experience into pieces, such as the use of technology, the role of God and religion and the reason behind creating the monster. In the novel, technology is used in correlation with the creation of Frankenstein. Victor says, I collected bones from charnel houses; and distributed, with profane fingers, the tremendous secrets of the human frame (Shelley […]

Foster’s Chapter “Every Trip is a Quest” in “Frankenstein”

In Foster's Chapter, Every Trip Is A Quest , he implies that every journey is a quest and every quest has to have a quester, a place to go, a stated reason to go there, challenges and trials along the way, and a real reason to go. When a character goes on a quest, he goes with intentions on fulfilling the originally stated reason, but once he is on the quest, he never ends up going for that originally stated […]

Economic Crisis Druing the French Revolution

The economic issues made by the French kings additionally added to the Revolution. Amid the eighteenth century, the French government spent more cash than it gathered in expenses. By 1788, the nation was bankrupt. Arthur Young, an Englishmen, and spectator, who ventured out to France from 1787 to 1789 furiously portray the living conditions of the workers in his book Travels in France (Campbell, 18). The measure of expense every individual must pay is out of line. Landholders found in […]

The History of Frankenstein in Film

From the dawn of the cinematic age, both horror and science fiction films have been shown throughout every cinema available. More common, however, were films based upon previously written works such as books or plays as they were easy to adapt from one medium to another. In 1910, Edison studios released what would inevitably lead to a cultural shift around the plot of one of the most famous, if not the most famous gothic novels: Mary Shelley's Frankenstein (1818). The […]

Isolation: Frankenstein and the Heart of Darkness

As humans we are naturally inclined to socialize with each other. There are times when we don’t want to be surrounded by others and just by ourselves, but prolonging that isolation can be detrimental to one’s psyche. Isolation can lead to stress levels rising, poor sleep, immune system dysfunction, and even cognitive depreciation (Psychology Today). In Heart of Darkness ?by Joseph Conrad, we see through Marlow’s eyes the descent of the antagonist Kurtz due to prolonged isolation in the wild […]

Technology and Morality in Shelley’s “Frankenstein”

In Frankenstein, Shelley addresses her concerns regarding human advancement by using a framed narrative that includes parallels, foils, and allusions in order to express that many people are unaware of the consequences of their actions because their hubris and ambition blinds them. This tends to disrupt the balance of society. Shelley’s framed structure leads us gradually to the central ideas of her novel and has us question our own society as a whole. The intention of each narrative in the […]

Victor Frankenstein in “Frankenstein” by Mary Shelley

Frankenstein tells the story of Victor Frankenstein, a scientist in the 18th century. The story begins with a letter from Captain Walton to his sister. The first letter is dated 17--. In Walton's letters, he tells his sister of his encounter with the scientist Victor Frankenstein. Victor becomes consumed with discovering the secret of creating life. In his pursuit of this knowledge, Victor creates a living creature made of body parts of corpses. Victor is successful in creating life, but […]

How Technology Changed Society

Technology has dramatically changed society in ways people never imagined. Before the dawn of modern-day technology, life was troublesome and everyday tasks like chores or transport consumed too much of humans’ effort and time. Now, because of technology human can communicate, transport, and work faster than ever. Due to the efficiency of tech, humans’ lives have been eased tremendously and almost all humans live in comfort. In the 21st Century, technology and human life are inseparable; society these days depends […]

Frankenstein Book Review

In the book “Frankenstein” by Mary Shelley, it is clear to lay the blame upon Victor Frankenstein. The definition of blame is the assignation of responsibility towards someone/something for a fault or wrong. Victor’s love and passion for science led to a monstrous idea and ended up killing three people. While his pride was a driving force, abandoning the creature was not a smart move. Due to the fact that his idea was matched with the act of doing gives […]

Frankenstein: the Cruelty he Faced

For centuries, society has placed stereotypes on those individuals who are different. Mary Shelley's novel Frankenstein is an example of one specific stereotype, which is the discrimination of a person because of a physical deformity. Frankenstein shows how social prejudices against physical deformities can automatically classify a person as bad or monstrous. In gothic novels, visual codes were used to identify good from bad and socially acceptable from socially unacceptable. By using these codes, it was possible to tell if […]

Frankenstein Critical Analysis

In Mary Shelley's novel, Frankenstein, isolation is a motif, or recurring idea with symbolic importance, revealed throughout the story between two characters, Victor Frankenstein, and his scientifically animated monster, the Creature. They both engage in acts and narratives of projecting the consequential dogma of isolation, that inevitably isolation results negatively and perpetuates misanthropy. Victor on one hand is an obsessive personality, lost in his studies he removes himself from very much human contact and engaging society. It results in his […]

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How To Write an Essay About Frankenstein

Introduction to mary shelley's frankenstein.

Mary Shelley's "Frankenstein" is a seminal work of Gothic literature that explores themes of creation, responsibility, and the nature of humanity. In the introduction of your essay, set the stage by briefly summarizing the novel's plot, which centers around Victor Frankenstein, a young scientist who creates a sentient creature in an unorthodox scientific experiment. Highlight the novel's key themes, such as the dangers of unchecked scientific ambition, the quest for knowledge, and the moral implications of playing God. This introduction should provide a snapshot of the novel’s key elements and the thematic explorations you will delve into, laying the groundwork for a critical examination of Shelley's work.

Analyzing Themes and Characters

In the body of your essay, focus on a detailed exploration of the novel's central themes. Discuss the theme of creation and the consequences of Victor Frankenstein's pursuit of scientific discovery without ethical boundaries. Analyze the creature’s development and his quest for identity and companionship, which turns into a desire for revenge against his creator. Explore the novel's exploration of isolation, both self-imposed and societal, as experienced by Victor and his creature. Additionally, examine the characters' relationships and how they contribute to the novel's themes, using specific examples from the text to support your analysis. Each paragraph should focus on a different theme or character, weaving a comprehensive understanding of Shelley’s narrative.

The Novel's Context and Shelley's Writing

It's important to contextualize "Frankenstein" within its historical and literary background. Discuss the significance of the novel being written during the early 19th century, a time of significant scientific advancement and romantic literary movement. Explore how Shelley’s personal experiences and the scientific context of her time influenced the themes and style of "Frankenstein." Additionally, consider the novel's structure, narrative technique, and use of symbolism and imagery. This part of the essay should demonstrate an understanding of how "Frankenstein" not only reflects the time in which it was written but also contributes to the genre of science fiction.

Concluding Reflections

Conclude your essay by summarizing the key points of your analysis and reaffirming the novel's significance in literary history. Reflect on the enduring relevance of "Frankenstein" in modern times, particularly in discussions about scientific ethics, the boundaries of human endeavor, and the consequences of technological advancement. Consider the novel's impact on readers and its role in shaping subsequent literary and cultural narratives. A strong conclusion will not only encapsulate your insights but also underscore the novel's continued importance, encouraging readers to reflect on its themes in the context of today's world.

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73 Essay Hook Examples

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

Learn about our Editorial Process

An essay hook is the first one or two sentences of your essay that are used to grab the reader’s attention and draw them into your discussion.

It is called a hook because it “grabs” the reader and doesn’t let them go! It should have something in there that makes the reader feel curious and intrigued, compelling them to continue reading.

Techniques for Good Essay Hooks

Here are a few techniques that you can use to write a good essay hook:

• Use a Quotation : Sometimes, a relevant quotation from a well-known author or expert can help establish the context or theme of your essay. Next time you’re conducting research for an essay, keep an eye out for a really compelling quote that you could use as your hook for that essay.
• Start with a Statement that is Surprising or Unusual: A surprising or unusually statement will draw a reader in, making them want to know more about that topic. It’s good if the statement contradicts common knowledge or reveals an insight about your topic that isn’t immediately obvious. These can be particularly good for argumentative essays where you’re putting forward a controversial or compelling argument as your thesis statement .
• Tell a Brief Anecdote : A short, interesting story related to your topic can personaize the story, making it more than just a dry essay, and turning it into a compelling narrative that’s worth reading.
• Use Statistics or Facts: Interesting, surprising, or shocking facts or statistics work similarly to surprising statements: they make us want to know more about a topic. Statistics and facts in your introductions are particularly useful for analytical, expository , and argumentative essays.
• Start with a Question: Questions that make the reader think deeply about an issue, or pose a question that the reader themselves has considered, can be really effecitve. But remember, questions tend to be better for informal and personal essays, and are generally not allowed in formal argumentative essays. If you’re not sure if you’re allowed to use questions in your essays, check with your teacher first.

Below, I’ll present some examples of hooks that you could use as inspiration when writing your own essay hook.

Essay Hook Examples

These examples might help stimulate your thinking. However, keep in mind that your essay hook needs to be unique to your essay, so use these as inspiration but write your own essay hook that’s perfect for your own essay.

1. For an Essay About Yourself

An essay about yourself can be personal, use “I” statements, and include memories or thoughts that are deeply personal to you.

• Question: “Have you ever met someone who could turn even the most mundane events into a thrilling adventure? Let me introduce myself.”
• Anecdote: “The smell of freshly baked cookies always takes me back to the day when I accidentally started a baking business at the age of nine.”
• Intriguing Statement: “I’ve always believed that you haven’t truly lived until you’ve read a book upside down, danced in the rain, or taught a parrot to say ‘I love pizza.'”
• Quotation: “As Mark Twain once said, ‘The secret of getting ahead is getting started.’ That’s a philosophy I’ve embraced in every aspect of my life.”
• Humorous Statement: “I’m a self-proclaimed ‘professional chocolate tester’ – a title that’s not only delicious but also requires extreme dedication.”
• Start with your Mission Statement : “My life motto is simple but powerful: be the person who decided to go for it.
• Fact or Statistic: “According to a study, people who speak more than one language tend to be better at multitasking . As a polyglot, I certainly live up to that statistic.”
• Comparison or Metaphor: “If my life were a book, it would be a blend of an adventurous novel, a suspense thriller, and a pinch of romantic comedy.”
• Personal Revelation: “Ever since I was a child, I’ve had an uncanny ability to communicate with animals. It’s an unusual skill, but one that has shaped my life in many ways.”
• Narrative: “The day everything changed for me was an ordinary Tuesday. Little did I know, a single conversation would lead me to discover my true passion.”

2. For a Reflective Essay

A reflective essay often explores personal experiences, feelings, and thoughts. So, your hooks for reflective essays can usually be more personal, intriguing, and engaging than other types of essays. Here are some examples for inspiration:

• Question: “Have you ever felt as though a single moment could change your entire life? This essay is going to explore that moment for me.”
• Anecdote: “I was standing on the edge of the Grand Canyon, looking at the vast emptiness, and for the first time, I truly understood the word ‘perspective’.”
• Bold Statement: “There is a part of me that is still trapped in that room, on that rainy afternoon, holding the letter that would change everything.”
• Personal Revelation: “The first time I truly felt a sense of belonging wasn’t in a crowded room full of friends, but in the quiet solitude of a forest.”
• Intriguing Statement: “In my life, silence has been a teacher more profound than any words could ever be.”
• Quotation: “Einstein once said, ‘The only source of knowledge is experience.’ Now, looking back, I realize how profound that statement truly is.”
• Comparison or Metaphor: “If my life is a tapestry, then that summer was the vibrant thread that changed the entire pattern.”
• Narrative: “As the train pulled out of the station, I realized I wasn’t just leaving my hometown, I was leaving my old self behind.”
• Philosophical Statement: “In the theater of life, we are both the actor and the audience, playing our part and watching ourselves simultaneously.”
• Emotive Statement: “There is a sort of sweet sorrow in remembering, a joy tinged with a hint of sadness, like the last notes of a beautiful song.”

For an Argumentative Essay

Essay hooks for argumentative essays are often the hardest. This type of essay tends to require the most formal type of academic writing, meaning your hook shouldn’t use first person, and should be more based on fact and objectivity, often at the expense of creativity. Here are some examples.

• Quotation: “Thomas Jefferson once said, ‘Whenever the people are well-informed, they can be trusted with their own government.’ If Jefferson were alive today, he would likely feel that this meed for a well-informed citizenry is falling well short of where he would aspire.”
• Provocative Statement: “Despite what romantic films may portray, love at first sight is merely a myth perpetuated by society. This essay will prosecute the argument that love at first sight is a myth.”
• Statistical Fact: “According to the World Health Organization, depression is the leading psychological disability worldwide. Yet, mental health is still stigmatized and often overlooked. This essay will argue that depression should be seen as a health issue, and stigmatization of depression causes serious harm to society.”
• Comparison: “Much like an unchecked infection, climate change, if left ignored, can spread far beyond what it is today, causing long-term economic and social problems that may even threaten the longevity of humanity itself.”
• Contradiction : “While we live in an era of unprecedented technological advancements, millions around the world are still denied basic internet access.”
• Bold Declaration: “Animal testing is not only ethically unacceptable, but it also undermines the progress of medical research.”
• Challenging Belief: “Despite popular belief, the automation of jobs is not a threat but an opportunity for society to evolve.”
• Quotation: “George Orwell wrote in ‘1984’, ‘Big Brother is Watching You.’ In our modern society, with the advancement of technology, this is becoming more of a reality than fiction.”
• Intriguing Statement: “Despite countless diet fads and fitness trends, obesity rates continue to rise. This argumentative essay will argue that this is because medical practitioners’ approaches to health and weight loss are fundamentally flawed.”
• Statistical Fact: “Research reveals that over 90% of the world’s plastic waste is not recycled. This alarming figure calls for a drastic change in social attitudes towards consumption and waste management.”
• Challenging Assumption: “Society often assumes that progress and growth are intrinsically good, but this is not always the case in the realm of economic development.”
• Contradiction: “Western society upholds the value of freedom, yet every day, members of society cede personal liberties in the name of convenience and security.”
• Analogy: “Like an overplayed song, when a news story is repeated too often, it loses its impact. In the era of digital media, society is becoming desensitized to critical issues.”
• Relevant Anecdote: “In a village in India, the arrival of a single computer transformed the lives of the residents. This small anecdote underscores the importance of digital inclusion in today’s world.”
• Call to Rethink: “In a world where success is often equated with financial wealth, it is time for society to reconsidered what truly constitutes a successful life.”

For a Compare and Contrast Essay

A compare and contrast essay examines two issues, looking at both the similarities and differences between them. A good hook for a compare and contrast essay will immediately signal to the reader the subjects that are being compared and why they’re being compared. Here are sine ideas for hooks for a compare and contrast essay:

• Quotation: “As Charles Dickens wrote in his novel ‘A Tale of Two Cities’, ‘It was the best of times, it was the worst of times’. This could equally apply to the contrasting dynamics of urban and rural living.”
• Provocative Statement: “Despite popular belief, cats and dogs have more in common than society tends to think.”
• Comparison: “Comparing being an only child to growing up with siblings is like contrasting a solo performance with an orchestral symphony.”
• Contradiction: “While many view classic literature and contemporary fiction as worlds apart, they are more akin to two sides of the same coin.”
• Bold Declaration: “Android and iPhone may compete in the same market, but their philosophies could not be more different.”
• Statistical Fact: “Statistics show that children who grow up reading books tend to perform better academically than those who do not. But, the jury is out on how reading traditional books compares to reading e-books on screens.”
• Quotation: “As Robert Louis Stevenson once wrote, ‘Sooner or later, we all sit down to a banquet of consequences.’ This statement can be used to frame a comparison between short-term and long-term thinking.”
• Provocative Statement: “Democracy and dictatorship are often seen as polar opposites, but are they are not as different as they seem.”
• Comparison: “Climate change and plastic pollution are two major environmental issues, yet they demand different approaches and solutions.”
• Contradiction: “While traditional classrooms and online learning are seen as separate modes of education, they can often blend into a cohesive learning experience.”
• Bold Declaration: “Though both based on merit, the structures of capitalism and socialism lead to vastly different societal outcomes.”
• Imagery: “The painting styles of Van Gogh and Monet can be contrasted as a stormy sea versus a tranquil pond.”
• Historical Reference: “The philosophies of the Cold War-era – capitalism and communism – provide a lens to contrast economic systems.”
• Literary Comparison: “The dystopian societies portrayed in George Orwell’s ‘1984’ and Aldous Huxley’s ‘Brave New World’ serve as contrasting visions of the future.”
• Philosophical Question: “Individualism and collectivism shape societies in distinct ways, but neither one can truly exist without the other.”

See Here for my Guide on Writing a Compare and Contrast Essay

For a Psychology Essay

Writing an engaging hook for a psychology essay involves sparking the reader’s interest in the human mind, behavior, or the specific psychology topic you’re discussing. Here are some stimulating hooks for a psychology essay:

• Rhetorical Question: “How much control do we truly have over our own actions?”
• Quotation: “Sigmund Freud once said, ‘Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.’ This essay will explore whether this is universally true.”
• Provocative Statement: “Contrary to popular belief, ‘venting out’ anger might actually be fueling the fire of fury.”
• Comparison: “Just as an iceberg reveals only a fraction of its bulk above water, conscious minds may only be a small piece of who humans truly are.”
• Contradiction: “While it may seem counterintuitive, studies show that individuals who are more intelligent are also more likely to suffer from mental health issues.”
• Bold Declaration: “Despite advances in technology, understanding the human brain remains one of the final frontiers in science.”
• Statistical Fact: “According to a study by the American Psychological Association, nearly one in five adults in the U.S. lives with a mental illness. Yet, mental health continues to be a topic shrouded in stigma.”

For a Sociology Essay

Writing an engaging hook for a sociology essay involves sparking the reader’s interest in social behaviors, cultural phenomena, or the specific sociology topic you’re discussing. Here are ideas for hooks for a sociology essay:

• Quotation: “As Karl Marx once noted, ‘Social progress can be measured exactly by the social position of the fair sex.’ Sadly, society has not made much progress in gender equality.”
• Provocative Statement: “Social media, initially created to connect people, is ironically leading society into an era of unprecedented isolation.”
• Comparison: “Comparing society to a theater, where each individual plays a role, it is possible to start to see patterns and scripts embedded in daily interactions.”
• Contradiction: “While people often believe that technology is bringing society closer together, evidence suggests that it’s actually driving a wedge between people, creating ‘digital divides’.”
• Bold Declaration: “Human societies are constructed on deeply ingrained systems of inequality, often invisible to those benefiting from them.”
• Statistical Fact: “A recent study found that women still earn only 81 cents for every dollar earned by men. This stark wage gap raises questions about equality in the workforce.”

For a College Application Essay

A college essay is a personal statement where you can showcase who you are beyond your grades and resume. It’s your chance to tell your unique story. Here are ten potential hooks for a college essay:

• Anecdote: “At the age of seven, with a wooden spoon as my baton, I confidently conducted an orchestra of pots and pans in my grandmother’s kitchen.”
• Provocative Statement: “I believe that life is like a game of chess. The king might be the most important piece, but it’s the pawns that can change the entire course of the game.”
• Personal Revelation: “It wasn’t until I was lost in a foreign city, armed with nothing but a map in a language I didn’t understand, that I truly discovered my love for adventure.”
• Intriguing Question: “Have you ever wondered how it feels to be part of two completely different cultures, yet wholly belong to neither?”
• Bold Declaration: “Breaking a bone can be a painful experience. Breaking stereotypes, however, is an entirely different kind of challenge.”
• Unusual Fact: “I can recite the periodic table backwards while juggling three tennis balls. It’s a strange talent, but it’s a perfect metaphor for how I tackle challenges.”
• Quotation: “As Albert Einstein once said, ‘Imagination is more important than knowledge.’ This quote has defined my approach to learning.”
• Narrative: “It was a cold winter’s day when I first discovered the magic of turning a blank page into a world full of characters, stories, and ideas.”
• Metaphor: “Like a caterpillar transforming into a butterfly, my high school years have been a period of profound metamorphosis.”
• Humorous Statement: “Being the youngest of five siblings, I quickly learned that the best way to be heard was to become the family’s unofficial lawyer.”

Conclusion: The Qualities of a Good Essay Hook

As I wrap up this article, I want to share a few last tips on qualities that a good essay hook should have. Keep these tips in mind when writing your essay hook and using the above essay hook examples:

First, relevance . A good hook should be directly relevant to the topic or theme of your essay. The hook should provide a preview of what’s to come without giving too much away.

Second, Intrigue. A great hook should make the reader want to continue reading. It should create a question in the reader’s mind or present a fascinating idea that they want to know more about.

Third, uniqueness. An effective hook should be original and unique. It should stand out from the many other essays that the reader might be going through.

Fourth, clarity. Even though a hook should be captivating and original, it should also be clear and easy to understand. Avoid complex sentences and jargon that might confuse the reader.

Fifth, genre conventions. Too often, my students try to be so creative in their essay hooks that they forget genre conventions . The more formal an essay, the harder it is to write the hook. My general approach is to focus on statistics and facts, and avoid rhetorical questions , with more formal essay hooks.

Keep in mind that you should run your essay hook by your teacher by showing them your first draft before you submit your essay for grading. This will help you to make sure it follows genre conventions and is well-written.

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 19 Top Cognitive Psychology Theories (Explained)
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ 119 Bloom’s Taxonomy Examples
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How to Write a Hook: Start Off Your Essay Strong with This Guide

What is a Hook for an Essay: Importance and Purpose

Which section of your essay can make your readers dip their toes into your writing? Is it the body paragraphs where all the analysis is laid out? Or maybe the introduction, where you present your thesis statement and voice your perspective on the subject? Well, if you think it is the latter, then we must agree with your decision. However, let's get more specific; if we take the introductory paragraph to pieces, which piece gets the most recognition? You must have guessed from the article's title that we're talking about a hook. But first, let's define what is a hook for an essay before we walk you through the reasons why it deserves our pat on the back.

The hook is the initial sentence in a written work. Whether you're asking how to write a hook for a song, blog post, or term paper, know that the purpose of any effective hook is to seize the reader's attention. It can be one sentence long, often for shorter pieces, or composed of several lines - usually for larger pieces. Making the reader want to keep reading is what an essay hook accomplishes for your paper, just as an intriguing introduction does for any piece.

Our main emphasis in this guide is on creating a good hook for an essay. Nonetheless, these fundamental guidelines apply to nearly every format for communicating with your audience. Whether writing a personal statement, a speech, or a presentation, making a solid first impression is crucial to spur your readers into action.

How to Write a Hook for Different Kinds of Writing

Although it is a tough skill to master, understanding how to write a hook is crucial for academic writing success. By reviewing the most prevalent kinds of essay hooks, you can discover how to effectively captivate readers from the start and generate a hook that is ideal for your article. To do so, let's head over to the following sections prepared by our dissertation writers .

How to Write a Hook for a College Essay?

By mastering how to write a hook for a college essay, you have the opportunity to stand out from the hundreds of applicants with identical academic portfolios to yours in your college essay. It should shed light on who you are, represent your true nature, and show your individuality. But first, you need an attention-grabbing start if you want the admissions committee to read more of yours than theirs. For this, you'll require a strong hook.

Set the Scene

When wondering how to write a good hook for an essay, consider setting the scene. Open in the middle of a key moment, plunge in with vivid details and conversation to keep your essay flowing and attract the reader. Make the reader feel like they are seeing a moment from your life and have just tuned in.

Open with an Example

Starting with a specific example is also a great idea if you're explaining how you acquired a particular skill or unique accomplishment. Then, similar to how you established the scenario above, you may return to this point later and discuss its significance throughout the remaining sections.

Open with an Anecdote

Using an anecdotal hook doesn't necessarily mean that your essay should also be humorous. The joke should be short and well-aimed to achieve the best results. To assist the reader in visualizing the situation and understanding what you are up against when tackling a task or overcoming a challenge, you might also use a funny irony. And if this sounds too overwhelming to compose, buy an essay on our platform and let our expert writers convey your unmatched story!

How to Write a Hook for an Argumentative Essay?

If you write a strong hook, your instructor will be compelled to read your argument in the following paragraphs. So, put your creative thinking cap on while crafting the hook, and write in a way that entices readers to continue reading the essay.

Use Statistics

Statistics serve as a useful hook because they encourage research. When used in argumentative writing, statistics can introduce readers to previously undiscovered details and data. That can greatly increase their desire to read your article from start to finish. You can also consider this advice when unsure how to write a good hook for a research paper. Especially if you're conducting a quantitative study, a statistic hook can be a solid start.

Use a Common Misconception

Another answer to your 'how to write a hook for an argumentative essay' question is to use a common misconception. What could be a better way to construct an interesting hook, which should grab readers' attention, than to incorporate a widely held misconception? A widespread false belief is one that many people hold to be true. When you create a hook with a misinterpretation, you startle your readers and immediately capture their interest.

How to Write a Hook for a Persuasive Essay?

The finest hooks for a persuasive essay capture the reader's interest while leading them to almost unconsciously support your position even before they are aware of it. You can accomplish this by employing the following hook ideas for an essay:

Ask a Rhetorical Question

By posing a query at the outset of your essay, you may engage the reader's critical thinking and whet their appetite for the solution you won't provide until later. Try to formulate a question wide enough for them to not immediately know the answer and detailed enough to avoid becoming a generic hook.

Use an Emotional Appeal

This is a fantastic approach to arouse sympathy and draw the reader into your cause. By appealing to the reader's emotions, you may establish a bond that encourages them to read more and get invested in the subject you cover.

Using these strategies, you won't have to wonder how to write a hook for a persuasive essay anymore!

How to Write a Hook for a Literary Analysis Essay?

Finding strong essay openers might be particularly challenging when writing a literary analysis. Coming up with something very remarkable on your own while writing about someone else's work is no easy feat. But we have some expert solutions below:

Use Literary Quotes

Using a literary quote sounds like the best option when unsure how to write a hook for a literary analysis essay. Nonetheless, its use is not restricted to that and is mostly determined by the style and meaning of the quotes. Still, when employing literary quotes, it's crucial to show two things at once: first, how well you understand the textual information. And second, you know how to capture the reader's interest right away.

Employ Quotes from Famous People

This is another style of hook that is frequently employed in literary analysis. But if you wonder how to write a good essay hook without sounding boring, choose a historical person with notable accomplishments and keep your readers intrigued and inspired to read more.

How to Write a Hook for an Informative Essay?

In an informative essay, your ultimate goal is to not only educate your audience but also engage and keep them interested from the very beginning. For this, consider the following:

Start with a Fact or Definition

You might begin your essay with an interesting fact or by giving a definition related to your subject. The same standard applies here for most types mentioned above: it must be intriguing, surprising, and/or alarming.

Ask Questions that Relate to Your Topic

Another solution to 'How to write a hook for an informative essay?' is to introduce your essay with a relevant question. This hook lets you pique a reader's interest in your essay and urge them to keep reading as they ponder the answer.

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Expert-Approved Tips for Writing an Essay Hook

Are you still struggling with the ideal opening sentence for your essay? Check out some advice from our essay helper on how to write a hook sentence and make your opening stand out.

• Keep your essay type in mind . Remember to keep your hook relevant. An effective hook for an argumentative or descriptive essay format will differ greatly. Therefore, the relevancy of the hook might be even more important than the content it conveys.
• Decide on the purpose of your hook . When unsure how to write a hook for an essay, try asking the following questions: What result are you hoping to get from it? Would you like your readers to be curious? Or, even better, surprised? Perhaps even somewhat caught off guard? Determine the effect you wish to accomplish before selecting a hook.
• Choose a hook at the end of the writing process. Even though it should be the first sentence of your paper, it doesn't mean you should write your hook first. Writing an essay is a long and creative process. So, if you can't think of an effective hook at the beginning, just keep writing according to your plan, and it will eventually come into your head. If you were lucky enough to concoct your hook immediately, double-check your writing to see if it still fits into the whole text and its style once you've finished writing.
• Make it short . The shorter, the better – this rule works for essay hooks. Keeping your hook to a minimum size will ensure that readers will read it at the same moment they start looking at your essay. Even before thinking if they want or don't want to read it, their attention will be captured, and their curiosity will get the best of them. So, they will continue reading the entire text to discover as much as possible.

Now you know how to write a good hook and understand that a solid hook is the difference between someone delving further into your work or abandoning it immediately. With our hook examples for an essay, you can do more than just write a great paper. We do not doubt that you can even write a winning term paper example right away!

Try to become an even better writer with the help of our paper writing service . Give them the freedom to write superior hooks and full essays for you so you may learn from them!

Do You Lack Creative Writing Skills?

This shouldn't stop you from producing a great essay! Order your essay today and watch your writing come alive.

What Is A Good Hook For An Essay?

How to write a hook for an essay, what is a good hook for an argumentative essay.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

Shelley’s Frankenstein: What It Means to Be Human Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Frankenstein, a ground-breaking novel by Mary Shelley published in 1818, raises important questions about what it means to be human. Mary Shelley was inspired to write the book in response to the questions arising from growing interactions between indigenous groups and European colonialists and explorers. While the native people the Europeans encountered exhibited human characteristics, the Europeans generally viewed them as inferior and less intelligent. Therefore, at that time, there was an unending debate about whether non-European ethnicities belonged to the same species as Europeans. The contestation was largely influenced by the Enlightenment led by the philosopher David Hume, who argued that there were different species of people and non-European species were “naturally inferior to the whites” (Lee 265). As a result, the native people were positioned beneath the line dividing humans from animals. This essentially meant they would only be subjects of slavery and oppression. However, Shelly’s Frankenstein runs counter to this theory and challenges the rigid notion of being a human based on a synthetic creature made of dead bodies. The book reveals what it means to be human through the creature’s actions.

When Frankenstein was released, many people were mesmerized by stories of “wild” native tribes in distant lands. Lee (267) states that during that time, the native people were judged only based on their appearance and way of life. However, going by Shelly’s progressive and broader definition, anyone would qualify to be called a human being in their own right. Shelly’s illustration even included the “savages” that her contemporaries looked down upon. Shelly uses the classic example of a creature that could survive on a vegetarian diet and climb mountains relatively easily. Her depiction of the creature through Victor Frankenstein shows that he is innately tied to the natural world (Shelley 85). However, the horrific responses he receives from others, including his creator, causes him to live in exile away from the European culture and dwell in the woods.

Furthermore, the creature’s looks make it obvious that it is not European. It stands at “nearly eight feet tall,” is far taller than the average European, and has “yellow skin” and “straight black lips” (Shelley 59). Even though a European developed him, his physical distinctiveness “the work of muscles and arteries beneath” set him apart from others (Shelley 59). Because he has been cast out of society due to his appearance, the creature is not a party to the social contract of the Enlightenment, a tacit agreement between all members of a country to protect each other’s basic rights. When the creature meets others, they fail in their duty to protect his human rights as a group, and later in the book, he murders in retaliation. The pervasive Enlightenment conception of the social contract generates an abstract divide between “civilized man” and “natural man” (Lee 275). The contract allows man to transition out of his “state of nature” and into modern society. That is why most Europeans, the moment Frankenstein was published, would not have understood how deeply connected to nature the creature or many indigenous peoples were.

Notwithstanding the deep connection to nature, the creature is human and characterized by an emotional and often compassionate personality. Despite his young age, he is almost as emotional and just as eloquent as his creator. When Felix, a young farmer whose home he stays in for a while, attacks him, he refrains from retaliation and saves a young girl only from being shot by her male companion. He frequently exhibits more moral “human” behavior than those he meets (Shelley 130). In both instances, he exhibits kindness and mercy and is unjustly assaulted by humans who misjudge him. At one time, the creature gets confronted, causing an aggressive, malicious, and vengeful reaction. However, the creature exemplifies intense guilt at the novel’s conclusion, which characterizes humanity. The creature’s depiction as physically non-European, self-educated, and yet unquestionably human can be applied to the indigenous people in nations like South America that European explorers frequently encountered. The indigenous people were characterized by their lifestyle and appearance rather than their inherent intelligence or upbringing. They can only exist in the natural world because they are not mostly allowed to live in European culture.

In conclusion, Shelley used her book, Frankenstein, to show what it means to be human through the creature’s actions. She broadens the definition of humanity by creating a progressive vision that enables those deemed less human to be regarded as completely human. The creature’s actions, when confronted, act as a caution against the risks of treating other people with indignity. Shelley’s story urges the reader to allow everyone to prove themselves before judging them based on their appearance. She advocates for fair treatment by drawing comparisons between the creature and its existence in nature and indigenous peoples worldwide, both forms of the “other.” As shown by the creature’s actions, anyone could end up becoming what is unfairly expected of them if they are not given an equal chance because of the psychological harm caused by the way they have been treated. In the end, the discovery that both the indigenous and the creature are human but are not perceived as such in civilization exposes the flaws in the prejudiced yet obscured view of humanity held by the Enlightenment.

Works Cited

Lee, Seogkwang. “ Humanity in Monstrous Form: Reading Mary Shelley Frankenstein .” The Journal of East-West Comparative Literature , vol. 49, 2019, pp. 261–85, Web.

Shelley, Mary. Frankenstein, or, the Modern Prometheus . Legend Press, 2018.

• “Frankenstein” by Mary Shelley
• Ethics of Discovery in Mary Shelley's "Frankenstein"
• Frankenstein's Historical Context: Review of "In Frankenstein’s Shadow" by Chris Baldrick
• King Lear as a Depiction of Shakespeare's Era
• Themes in "Dancing in the Dark" Novel by Phillip
• The "Dancing in the Dark" Novel by Caryl Phillip
• "Frankenstein" by Mary Shelley Review
• Lewis' The Lion, the Witch, and the Wardrobe Book
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, December 17). Shelley's Frankenstein: What It Means to Be Human. https://ivypanda.com/essays/shelleys-frankenstein-what-it-means-to-be-human/

"Shelley's Frankenstein: What It Means to Be Human." IvyPanda , 17 Dec. 2023, ivypanda.com/essays/shelleys-frankenstein-what-it-means-to-be-human/.

IvyPanda . (2023) 'Shelley's Frankenstein: What It Means to Be Human'. 17 December.

IvyPanda . 2023. "Shelley's Frankenstein: What It Means to Be Human." December 17, 2023. https://ivypanda.com/essays/shelleys-frankenstein-what-it-means-to-be-human/.

1. IvyPanda . "Shelley's Frankenstein: What It Means to Be Human." December 17, 2023. https://ivypanda.com/essays/shelleys-frankenstein-what-it-means-to-be-human/.

Bibliography

IvyPanda . "Shelley's Frankenstein: What It Means to Be Human." December 17, 2023. https://ivypanda.com/essays/shelleys-frankenstein-what-it-means-to-be-human/.

• The exponential growth of solar power will change the world
• China’s giant solar industry is in turmoil
• Private firms are driving a revolution in solar power in Africa

↓ Here comes the sun

The past and a possible future.

Global useful energy consumption*

Traditional

Terawatt hours, ’000

Sources: Rupert Way; Our World in Data

*Primary energy adjusted for waste-heat losses

†From Way et al. (2022)

‡Electricity-conversion technologies (eg green hydrogen)

terawatt hours, ’000

Fast-transition

↓ Sun seekers

Sunlight and solar capacity.

Solar capacity*

Gigawatts, Q1 2024

*Total within 8,500km 2 grid cell

Sources: Global Solar Atlas; TransitionZero

Global horizontal irradiation

2022, KWh/m 2 per day

*Total within 8,500km 2 grid cell Sources: Global Solar Atlas; TransitionZero

*Total within 8,5002km 2 grid cell Sources: Global Solar Atlas; TransitionZero

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