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Filter exemplars, how does jordan peele represent racism in the 21st century in his thriller movie ‘get out’, in what ways does henrik ibsen, in his play, a doll’s house, employ stylistic features to communicate the victorian social codes of the 1870s, want to get full marks for your ia allow us to review it for you 🎯, how does barbara kruger’s usage of imagery, text, and coloring in her different artworks create relations in order to employ women’s bodies and beauty standards in society, how does beyoncé portray the american black southern identity struggle by reclaiming cultural elements in the visual album lemonade, how does shakespeare use characterisation to conform to and challenge gender roles and expectations in the play macbeth, fast track your coursework with mark schemes moderated by ib examiners. upgrade now 🚀, how does marjane satrapi portray western stereotypes about the iranian culture in her graphic novel, persepolis i , to what extent does the patriarchy dictate female identity and enforce their transformation in carol ann duffy’s the world’s wife, line of inquiry: how does the representation of women in liza donnelly’s cartoons convey harmful societal norms and expectations as a barrier to women’s empowerment in different levels of society, how does dangarembga’s use of characterisation for tambudzai and nyasha portray hybrid identities as a result of assimilating into a dominant culture in nervous conditions, how do the comedic devices come out as an expression of jo koy’s cultural identity in his netflix special 'live from seattle', how does maya angelou, in her collected poems, celebrate the resilience of women through her perspective as an african-american poet, how does social stratification affect the morality or the moral standards of the great gatsby in the given social context, how rishi sunak's speech net zero reflects a shift in political strategy towards addressing climate change, and how this impacts youth perception and support for increased governmental action, to what extent does jane austen in her novel pride & prejudice use characterization to emphasise the traditional family & marriage model of the early 19th century, how does the narrative of the documentary "ice cold: coffee, murder, and jessica wongso" attempt to reshape the audience's perception of jessica wongso’s guilt, how and to what end are stylistic devices utilised in portrayal of masculinity in the late 20th century marlboro advertisements, how does nawal el saadawi represent the impact of religion and culture through symbolic features in the novel, woman at point zero, how does margaret atwood utilize characterization, symbolism, and setting to portray offred’s change of identity during events after the fall of the united states in the dystopian novel the handmaid’s tale, how does marjane satrapi use the plot of her graphic novel persepolis to illustrate the effect of fear on a child’s personal development during wartime, in what ways and to what effect does marjane satrapi illustrate the struggle for identity formation in persepolis: a story of a childhood, through the use of emilia’s character in othello, how does shakespeare reflect the realities of women in the elizabethan era to provide historical commentary, how does natalie diaz explore the marginalisation of native american people and how it affects their relationship with their identity in her poetry, how does kazuo ishiguro employ a first person point of view to explore the ways stevens’ sense of duty and loyalty shape his identity in the novel the remains of the day, how does michelle obama’s use of transformative narratives in her speeches inspire and empower audience to affect personal and societal change, how does banksy utilize visual and textual elements in his artworks in order to transform the publics opinion on capitalisms prominence in modern-day society, how and why is the notion of corruption in colonial algerian society in the 1940s presented as the result of the rejection of that which is different from the common standard in the stranger, how does banksy utilize visual elements in his 2008 new orleans art collection, to criticize the american government’s response to hurricane katrina, how does george bernard shaw offer a critique of victorian society through characterization in his play “pygmalion”, in "jump and other short stories," how does nadine gordimer employ the concept of "otherness" to examine the ways in which groups construct their identities in a society marked by racism and segregation, how does william shakespeare portray the transformation of othello’s character caused by jealousy in his tragic play othello, how does federico garcía lorca convey passion in a way that contradicts the social norms within blood wedding, how does duffy critique the madonna-whore dichotomy by revisiting historical representations of women, to what extent does the film dead poets society by peter weir promote the pursuit of passion and self-expression, how does guy delisle’s use of symbolism in pyongyang indicate the democratic people's republic of korea's tactics of maintenance of power, how and to what effect does chekhov's characterization of the titular three sisters reflect the greater sociopolitical upheavals of late nineteenth-century russia, how does natalie diaz portray addiction and its impact on family dynamics, how and to what effect do the structural devices in lokasenna’s mimetic dialogue demonstrate the possession and transfer of power between characters, how do dimitry moor’s propaganda posters promote the ideologies of socialism to the proletariats of russia, in what ways does primo levi’s autobiography, if this is a man, present the difficulties of communication in auschwitz, poet juana ramírez de asbaje’s usage of the courtly love genre in “my divine lysi” and “i beg you, señora” to express her love for maría luisa manrique de lara y gonzaga, marchioness of la laguna, 11th countess of paredes.

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What is a Metaphor?

• UCAS Guide Home >
• A-Level English Literature

How to Write an A-Level English Literature Essay

Writing an A-level English Literature essay is like creating a masterpiece. It’s a skill that can make a big difference in your academic adventure. 

In this article, we will explore the world of literary analysis in an easy-to-follow way. We’ll show you how to organise your thoughts, analyse texts, and make strong arguments. 

The Basics of Crafting A-Level English Literature Essays

Understanding the Assignment: Decoding Essay Prompts

Writing begins with understanding. When faced with an essay prompt, dissect it carefully. Identify keywords and phrases to grasp what’s expected. Pay attention to verbs like “analyse,” “discuss,” or “evaluate.” These guide your approach. For instance, if asked to analyse, delve into the how and why of a literary element.

Essay Structure: Building a Solid Foundation

The structure is the backbone of a great essay. Start with a clear introduction that introduces your topic and thesis. The body paragraphs should each focus on a specific aspect, supporting your thesis. Don’t forget topic sentences—they guide readers. Finally, wrap it up with a concise conclusion that reinforces your main points.

Thesis Statements: Crafting Clear and Powerful Arguments

Your thesis is your essay’s compass. Craft a brief statement conveying your main argument. It should be specific, not vague. Use it as a roadmap for your essay, ensuring every paragraph aligns with and supports it. A strong thesis sets the tone for an impactful essay, giving your reader a clear sense of what to expect.

Exploring PEDAL for Better A-Level English Essays

Going beyond PEE to PEDAL ensures a holistic approach, hitting the additional elements crucial for A-Level success. This structure delves into close analysis, explains both the device and the quote, and concludes with a contextual link. 

Below are some examples to illustrate how PEDAL can enhance your essay:

Clearly state your main idea.

Example: “In this paragraph, we explore the central theme of love in Shakespeare’s ‘Romeo and Juliet.'”

Pull relevant quotes from the text.

Example: “Citing Juliet’s line, ‘My only love sprung from my only hate,’ highlights the conflict between love and family loyalty.”

Identify a literary technique in the evidence.

Example: “Analysing the metaphor of ‘love sprung from hate,’ we unveil Shakespeare’s use of contrast to emphasise the intensity of emotions.”

Break down the meaning of the evidence.

Example: “Zooming in on the words ‘love’ and ‘hate,’ we dissect their individual meanings, emphasising the emotional complexity of the characters.”

Link to Context:

Connect your point to broader contexts.

Example: “Linking this theme to the societal norms of the Elizabethan era adds depth, revealing how Shakespeare challenges prevailing beliefs about love and family.”

Navigating the World of Literary Analysis

Breaking Down Literary Elements: Characters, Plot, and Themes

Literary analysis is about dissecting a text’s components. Characters, plot, and themes are key players. Explore how characters develop, influence the narrative, and represent broader ideas. Map out the plot’s structure—introduction, rising action, climax, and resolution. Themes, the underlying messages, offer insight into the author’s intent. Pinpointing these elements enriches your analysis.

Effective Text Analysis: Uncovering Hidden Meanings

Go beyond the surface. Effective analysis uncovers hidden layers. Consider symbolism, metaphors, and imagery. Ask questions: What does a symbol represent? How does a metaphor enhance meaning? Why was a particular image chosen? Context is crucial. Connect these literary devices to the broader narrative, revealing the author’s nuanced intentions.

Incorporating Critical Perspectives: Adding Depth to Your Essays

Elevate your analysis by considering various perspectives. Literary criticism opens new doors. Explore historical, cultural, or feminist viewpoints. Delve into how different critics interpret the text. This depth showcases a nuanced understanding, demonstrating your engagement with broader conversations in the literary realm. Incorporating these perspectives enriches your analysis, setting your essay apart.

Secrets to Compelling Essays

Structuring your ideas: creating coherent and flowing essays.

Structure is the roadmap readers follow. Start with a captivating introduction that sets the stage. Each paragraph should have a clear focus, connected by smooth transitions. Use topic sentences to guide readers through your ideas. Aim for coherence—each sentence should logically follow the previous one. This ensures your essay flows seamlessly, making it engaging and easy to follow.

Presenting Compelling Arguments: Backing Up Your Points

Compelling arguments rest on solid evidence. Support your ideas with examples from the text. Quote relevant passages to reinforce your points. Be specific—show how the evidence directly relates to your argument. Avoid generalisations. Strong arguments convince the reader of your perspective, making your essay persuasive and impactful.

The Power of Language: Writing with Clarity and Precision

Clarity is key in essay writing. Choose words carefully to convey your ideas precisely. Avoid unnecessary complexity—simple language is often more effective. Proofread to eliminate ambiguity and ensure clarity. Precision in language enhances the reader’s understanding and allows your ideas to shine. Crafting your essay with care elevates the overall quality, leaving a lasting impression.

Mastering A-level English Literature essays unlocks academic success. Armed with a solid structure, nuanced literary analysis, and compelling arguments, your essays will stand out. Transform your writing from good to exceptional. 

For personalised guidance, join Study Mind’s A-Level English Literature tutors . Elevate your understanding and excel in your literary pursuits. Enrich your learning journey today!

How long should my A-level English Literature essay be, and does word count matter?

While word count can vary, aim for quality over quantity. Typically, essays range from 1,200 to 1,500 words. Focus on expressing your ideas coherently rather than meeting a specific word count. Ensure each word contributes meaningfully to your analysis for a concise and impactful essay.

Is it acceptable to include personal opinions in my literature essay?

While it’s essential to express your viewpoint, prioritise textual evidence over personal opinions. Support your arguments with examples from the text to maintain objectivity. Balance your insights with the author’s intent, ensuring a nuanced and well-supported analysis.

Can I use quotes from literary critics in my essay, and how do I integrate them effectively?

Yes, incorporating quotes from critics can add depth. Introduce the critic’s perspective and relate it to your argument. Analyse the quote’s relevance and discuss its impact on your interpretation. This demonstrates a broader engagement with literary conversations.

How do I avoid sounding repetitive in my essay?

Vary your language and sentence structure. Instead of repeating phrases, use synonyms and explore different ways to express the same idea. Ensure each paragraph introduces new insights, contributing to the overall development of your analysis. This keeps your essay engaging and avoids monotony.

Is it necessary to memorise quotes, or can I refer to the text during exams?

While memorising key quotes is beneficial for a closed text exam, you can refer to the text during open text exams. However, it’s crucial to be selective. Memorise quotes that align with common themes and characters, allowing you to recall them quickly and use them effectively in your essay under time constraints.

How can I improve my essay writing under time pressure during exams?

Practise timed writing regularly to enhance your speed and efficiency. Prioritise planning—allocate a few minutes to outline your essay before starting. Focus on concise yet impactful analysis. Develop a systematic approach to time management to ensure each section of your essay receives adequate attention within the given timeframe.

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• How to Write a Great Essay for Different A-Level Subjects

In previous articles, we’ve given you lots of advice on how to write the perfect essay.

However, the skills we’ve discussed up to now have been generic, and have not taken into account the fact that different subjects require different skills when it comes to writing excellent essays for them. In this article, we look at the particular skills needed to write great essays for individual A-level subjects, so that you can familiarise yourself with what you need to do to excel in whatever A-levels you happen to be studying.

Good English literature essays revolve around intelligent interpretation. The problem many students have with this is organising their interpretations into a tightly structured essay that flows well; many simply let their ideas run wild and flit aimlessly between one point and the next. To combat this problem, you need to consider the writer’s overall aims and then show how they have conveyed those aims, paragraph by paragraph, with each paragraph devoted to a particular technique or focus. A good structure to use is as follows:

• Point – make a statement, such as “Brontë uses the bleakness of the moorland setting to reflect Heathcliff’s temperament.”
• Explanation – elaborate on the statement in more detail. In this example, your explanation would involve explaining the parallels between Heathcliff and the moors – their unpredictability and wildness, for instance, and the violence of the weather mirroring Heathcliff’s violent personality.
• Evidence – now provide quotes from the text to back up what you mean. In the Heathcliff example, you could quote specific words and phrases that show similarities in the way Heathcliff is described and the way in which the moorland landscape and weather are described.
• Reiterate – close off the paragraph by reiterating the point, and perhaps developing it a little further or introducing the idea you’re going to carry into the next paragraph. For example, “This ties in with a wider theme running through the book as a whole, which is that nature parallels human emotions.”

Good English essays pay close attention to detail, noting specific words, phrases and literary devices a writer has used, and to what effect. They quote liberally from the text in order to support each point, deconstructing the writing and analysing the use of language; they look at different interpretations, seeing beyond the surface and picking up on possible deeper meanings and connotations. But they also consider the meaning of the piece as a whole, and the overall effect created by the specific details noted. All this should be considered within the framework of the genre and context of the piece of writing. For instance, a poem by William Wordsworth would be considered within the context of the Romantic poets, and might be compared with work by contemporary poets such as Shelley or Keats; the historical background might also be touched upon where relevant (such as the Industrial Revolution when discussing the poetry of William Blake).

Though it’s also a humanities subject, History requires its own very particular set of skills that differ to an appreciable degree from those expected of you in English. A history essay is unequivocal about its writer’s opinion, but this opinion must be based on a solid analysis of evidence that very often can’t be taken as fact. Evidence must be discussed in terms of its reliability, or lack thereof. The good historian considers what biases may be inherent in a source, what vested interest the source might have, and what viewpoint that source was written from. For instance, you might analyse a source by discussing whether or not the person was present at the events they are describing; how long after the events they were writing (and therefore whether they are remembering it accurately if they were there, or whether they are getting their information second or third hand from someone else; and if so, how reliable the original source is); whether they are trying to show evidence to support a particular political view; and so on. So, each time you make a point, back it up with evidence, and consider the strengths and weaknesses of that evidence. A good history essay makes connections between what’s been written about, considering how issues interrelate, so think about how what you’re writing about ties in with other things; what was the impact of the event you’re discussing, did it happen in isolation, and what were the events that led to it?

It’s vital to look at both sides of the argument – or, where many possible viewpoints exist, to acknowledge these nuances. It’s fine to contradict yourself, provided you do so consciously; that is, you can build up an argument and then turn it on its head, observing that you are doing so (for example, “So far, so compelling; but what about the less well-known evidence from such and such?”). You can use quotes from historians you’ve read, but use these in the context of discussing scholarly opinion. Don’t quote a historian’s words as evidence of something, because this is only someone’s opinion – it’s not proof. Finally, where possible, use specialist terms to show that you know your stuff (“proletariat” instead of “workers”, for example).

The primary task that lies ahead of you in writing a French essay is, of course, to demonstrate your superior language skills. Keep the content itself very even-handed, sitting on the fence rather than presenting a forceful opinion that could distract attention away from the quality of your use of French. Focus on using as wide a variety of vocabulary and tenses as you can. It will help your essay if you can learn how to say more sophisticated phrases in French, of the sort you would use if you were writing an essay in English. This useful document from RealFrench.net, Writing Essays in French, will give you numerous useful French phrases to help you put together an impressive essay, including the vocabulary you need to present a balanced argument.

Geography is a subject that crosses the divide between the sciences and the humanities, considering both physical processes and human activities (and their effects on the world around us). Essays for Geography may differ depending on which of these focuses the essay is discussing, and the evidence you might include in your essay could vary from phenomena observed and data gathered in the natural world to the results of population censuses. To write a good Geography essay, you’ll need to include both theory and detailed, real-world case studies to support your answer. Mention specific places by name, and communicate the facts accurately. Your teacher will be assessing not just your knowledge, but your ability to support what you say with relevant information that proves it. You shouldn’t just rattle off everything you know about a particular case study; you should deploy relevant facts from the case study to support a specific point you’re trying to make. Keep linking each point back to the question, so that you’re always working towards answering it; this also helps you ensure that everything you include is actually relevant to the question. Showing that you’ve thought about an issue from multiple perspectives, and that you appreciate how they interrelate, is important in Geography. You can do this by organising the content of your essay into categories, considering different factors in turn, such as the scale of the issue, and the timeframe and environment involved. Discuss the various factors involved logically, one by one, such as the environmental impact of climate change or a natural disaster (such as a tsunami or volcanic eruption), followed by its physical, economic, social and political implications. Acknowledging the numerous nuances of the situation will demonstrate your appreciation of its complexity and show that you are thinking at a high level.

Classical Civilisations

As the study of the ancient world (primarily ancient Rome and Greece), Classical Civilisations combines archaeology and history, looking both at what survives materially (from small finds, to art and sculpture, to temples) and what survives in the way of texts by ancient authors. A good essay for this subject analyses, evaluates and interprets. The historical elements of the subject will require the same set of skills we discussed for History earlier, while the archaeological components of this subject require slightly different skills. With your archaeologist hat on, your job becomes similar to that of a detective, piecing together clues. Archaeology crosses over into science, and with that comes scientific considerations such as how archaeological evidence has been gathered – the methods used, their reliability, whether or not they could have been tampered with, how accurately they were recorded, and so on. You’ll look at a variety of different types of evidence, too, from the finds themselves to maps of the local topography. As with Geography, for which you’re required to learn lots of detailed case studies and names, you’ll need to learn plenty of examples of sites and finds to use as sources of evidence in building up a picture of the ancient world. And, as with any subject, looking at both sides of any argument is crucial to good grades. If the evidence you’re discussing could show one thing, but it could also show another, don’t just present one possibility – show that you’ve thought in depth about it and consider all the possible interpretations.

Science subjects

The sciences – Biology, Chemistry, Physics and Mathematics – are generally less essay-focused, so we’re grouping them together here because the essay skills required for each of these subjects are very similar. While the fundamentals of scientific essay writing are the same as any other subject – having a logical structure, well-developed argument, and so on – there are a few subject-specific considerations to bear in mind, and some common pitfalls to watch out for. The first is that there is no room for opinion in a scientific essay; unless you’re specifically asked for it, leave your own thoughts out of it and focus instead on a completely objective discussion of the evidence gathered through scientific research, which will most probably be quantitative data. Avoid vague language such as “it is thought that…”; be as precise as possible. Start with a hypothesis, and then discuss the research that supports or disproves it. Back up every statement you make with solid data; it’s not enough simply to drop in the name of the research, so briefly describe what the findings were and why they prove the statement you’ve just made. Another mistake many students make is to confuse cause and effect; this arises because of the tendency to assume that correlation implies causation, which is a common logical fallacy. Just because two things appear to be related, it doesn’t mean that one caused the other, and committing this error in an essay is a major faux pas that will lose you marks. It’s also a good idea to ensure that you’ve included every piece of research that could be relevant; if you don’t, you could be leaving out a crucial piece of evidence. Finally, mention any limitations there may have been with the methodology used to gather the data you discuss.

Psychology essays are best approached with a scientific mindset, but it’s far more difficult to prove anything in this subject – and this should be acknowledged in your essay. The task becomes one of assessing which theory is the more probable one, based on an analysis of the data from various studies. Make liberal reference to named and dated psychological experiments and research, but acknowledge the fact that there may be more than one theory that could account for the same set of results. When these experiments are quoted as evidence, this should be done with reference to any possible limitations of how the experiment was conducted (such as a small sample size). If you’ve reached the end of this article, you’re now equipped with the knowledge to write fantastic essays guaranteed to impress your teachers. You’re also well on the way to thinking in the right way for university-level essays, so keep working on these skills now and you’ll find it much easier to make the leap from sixth former to undergraduate.

Image credits: banner ; Wuthering Heights ; Diet of Worms ; factory workers ; Charioteer ; Hubble Space Telescope ; Psychology . 

Programmes & Qualifications

Cambridge international as & a level english language (9093).

• Syllabus overview

Cambridge International AS and A Level English Language provides learners with the opportunity to study English language and its use in communication. Learners will be encouraged to respond critically to a wide variety of texts in a range of forms, styles and contexts, and to promote skills of communication, reading, research and analysis.

Through their study, learners will develop an ability to read and analyse material, gaining further knowledge and understanding of English language features and issues. Learners will also develop the skills of writing clearly, accurately, creatively and effectively for different purposes and audiences.

Changes have been made to this syllabus for first examination in 2021 onwards. Please see the 2021-2023 syllabus for detailed information.

The syllabus year refers to the year in which the examination will be taken.

• -->2021 - 2023 Syllabus update (PDF, 163KB)
• -->2024 - 2026 Syllabus update (PDF, 136KB)

Syllabus support

• -->Support for English Language (PDF, 1MB)

Syllabus updates

We worked with teachers, subject expert panels and universities around the world to update our Cambridge International AS & A Level English subject group as part of our on-going review process. We have made some changes to the syllabus for examination in 2021, 2022 and 2023.

Many teachers told us that they offer more than one English subject from this group, so we have made some changes so that the syllabuses work together regardless of whether a student is studying one or more subject from this group. To make it clearer for teachers, we have separated this syllabus from our other English Cambridge International AS & A Levels.

How has the syllabus changed?

• We have included a specific subject content section that sets out what students should study across the Cambridge International AS & A Level.
• After feedback from teachers, new content has been added within Paper 3 that focuses on the analysis and intrepretation of language data.
• We have increased the number of assessment objectives from three to five and have updated the wording so the expectations of each assessment objective is clearer.
• The levels of response mark schemes have changed based on feedback from schools to make sure we maintain valid and reliable assessments.
• Text and context
• Meaning and style
• We have added a list of command words and their meanings to help learners know what’s expected of them in the exam.

How has assessment changed?

• Changes to the papers have been made to update and retain the strengths of the current model. We are keeping the assessment model for English Language as a four component, exam only model.
• The A Level Paper 3 will have stimulus texts that will be accompanied by some quantitative language data, in graph and table form. This change is based on feedback from teachers who feel the skill of data analysis would be valuable for students and engage their interest.
• Language acquisition has been moved to Paper 3 from Paper 4 as this topic represents language analysis more than a language topic.
• English in the World - a new title for the current English as a global language
• Language and the self - a new topic that concentrates on the relationships between language and thought, and language and social identity. This change was made after consultation with centres, who felt the current topics in Paper 4 were not discrete enough.

When do these changes take place?

The updated syllabus will be assessed in June and November 2021, 2022 and 2023. It is also available in March 2021, 2022 and 2023 (India only). Please see the 2021-2023 syllabus above for full details.

Coming soon

We are developing a wide range of support to help you plan and teach the 2021-2023 syllabus. Visit our School Support Hub from April 2019 onwards.

Look out for our comprehensive support package to help you deliver the 2021-2023 syllabus including a Scheme of work, Example candidate responses and Specimen paper answers. There will also be Teacher and Learner guides from April 2019 onwards through our School Support Hub .

Endorsed resources

View the latest resources that are being developed for the Cambridge International AS & A Level English Language syllabus (9093).

Helps students gain an understanding of how language works for different audiences and purposes. Improve reading skills through analysis of different text types – from blogs to letters – and create imaginative, discursive and critical writing.

Read more on the Cambridge University Press website

Build skills and knowledge in a clear sequence and help students to apply skills to a range of language tasks, with up-to-date coverage of the syllabus topics and a stimulating range of international texts.

Read more on the Collins website

Important notices

Find out more about our range of English syllabuses to suit every level and ambition.

For some subjects, we publish grade descriptions to help understand the level of performance candidates’ grades represent.

We paused the publication of grade descriptions in response to the Covid-19 pandemic and the temporary changes to the awarding standard in 2020, 2021 and 2022.

As the awarding standard has now returned to the pre-pandemic standard, we are working to produce up-to-date grade descriptions for most of our general qualifications. These will be based on the awarding standards in place from June 2023 onwards.

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How to Write an A* Prose Essay (A-level English Lit)

Picking up the idea of a “safe haven” straight from the introduction and clearly stating that the first point of the essay is about idealisation. (AO1)

Language analysis, commenting on the effects of specific grammatical features (modal verbs/superlatives/imperatives) and word choice. (AO2)

Analysis of the effect of the author’s choice of setting (AO2) and link to the sociocultural and literary context of this setting. (AO3)

Link back to the essay title, summarising how the author presents family relationships in light of what has been discussed in this paragraph. (AO1)

Introducing the second novel (“The Handmaid’s Tale”) using a context point (AO3) and immediate comparison with “Frankenstein.” (AO4)

Analysis of the effect of word repetition in “The Handmaid’s Tale” (AO2) and comparison with the effect achieved in “Frankenstein” using quotations, which are linked directly to another comparison point. (AO4)

Link back to the essay title. (AO1)

Nuanced comparison between the two novels (i.e. mentioning a similarity and a contrast). (AO4)

Language analysis: the effects of asyndeton, passive verbs and imagery involving sand. (AO2)

Link between language techniques used in “The Handmaid’s Tale” and those used in “Frankenstein” (passive vs active verbs) and the contrasting effects of each. (AO4)

Link back to the title (a conclusive statement about family relationships). (AO1)

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QUESTION: Referring to both texts in detail, explore how language has changed over time?

Comparing the texts helps show the changing English language in a short period of time, with the main reason being technological and educational advances. Text E is a written letter from 1854, while Text F is a present day email. This difference in time will indicate many advances of the English Language.

The register of the texts varies greatly. In text E we see an overall formal register adopted, this could simply be the manner in which the author speaks to his father and could adopt more informality if the letter was to a friend. For example we see the formal address of ‘Dear father’ and ‘glad to find you are all in the enjoyment of good health’. Text F shows far more informality as this email is addressing friends where informal address would be common. For example we see the informal opening address of ‘hola people’, this helping lighten the mood of the readers as the email comes from a military environment. Both texts show informality through the use of ellipsis and elision, for example text E uses ‘Sept’ and text F uses ‘what’s going with things’. This helps keep the reader at ease as these aspects are more commonly seen in spoken utterance. Text E uses some formal polysyllabic lexis which would indicate the author is of a relatively high intelligence, even though his writing is non-standard. The use of ‘addition’ and ‘encampment’ show the formality. Text F shows a greater use of monosyllabic lexis mainly for the speed of typing and ease of reading. The formal use of ‘orifice’ is seen, however, I believe this is for comedic effect and helps show the authors own idiosyncratic lexis. The use of modern colloquialisms of ‘redders’ and ‘honking’  help give text F further informality and humour.

We see the archaism and incorrect spelling of ‘bivouaking’ in text E, which helps indicate the changing English language as this is simply called an army camp today and the word has become obsolete. Both texts show forms of non-standard spelling, however, I believe these are for very different reasons. Text E also shows many forms of non-standard spelling from present day, for example we see the extra vowel in ‘Blewe’ and the double consonant in ‘att’. As the text is from 1854, only 100 years after the introduction of the first widely received dictionary by Dr Samuel Johnson, it is possible that the author was writing in his own idiosyncratic style through lack of standardisation. However, since standardisation had begun after the first printing press was introduced to England by William Caxton in 1476; it is far more likely that the author is using non-standard spelling through a lack of formal education as the first Education Act was not introduced in England until 1870. Text F uses forms of non-standard spelling which help indicate the role that technology has played in the changing of the English Language. For example the clipping of ‘Blo’, the number homophone of ‘2day’ and the characterisation of ‘+’ are commonly seen in present day communication through email and text. This is because letters which can be deleted while the text still remains understandable are removed for reasons of speed and cost.

Technological changes to the language are also evident in the opening address of both letters. Text E opens with ‘Dear father’ showing that the letter is intended for one recipient, with the text later stating ‘a copy of this to sisters and brothers’ indicating the need for the father to copy the letter for his siblings. Text F shows technology through opening with ‘hola people’, which shows emails can be sent to many recipients at once without the need to reproduce copies.

Both texts show the sociolect lexis of the armed forces. In text E we see the author using field specific lexis such as ‘encampment’, ‘bivouaking’ and ‘operations’, which would be commonly heard by soldiers of the time. However, text F shows an evolved form of sociolect lexis as we see present day terms such as ‘stay bendy’, indicating the language used by soldiers which is difficult to decipher for non-military personnel. We see the use of the semantic field of military used by both texts, which helps give continuity and reliability to the text. For example in text E we see ‘artillery’ and ‘operations’, while in text F we see ‘camp’ and ‘standby’.

The use of some figurative imagery is evident in both texts. In text F we see the use of hyperbole throughout for comedic effect, for example ‘sand in every orifice’ and ‘millions of fans’. In text E we see hyperbole through ‘will kill half of us’, which helps show the dire situation and the falling morale of the troops. The use of metaphors is also evident in both texts, for example in text E we see ‘bit of a damper’ indicating the low morale once again, while in text F we see ‘did have beer but now dry’ once again used for humour.

In grammar the texts also differ. The punctuation of both pieces shows many non-standard forms. In text E we see very little punctuation as the text uses long complex sentences which stretch into long paragraphs. This could be simply the author’s lack of literacy through being poorly educated. Text F shows short simple sentences which are punctuated using commas into short paragraphs. This could be because the author can send regular instant messages through email and so needs to convey less information. However, the constant capitalisation shows the speed in which the text was written and the author failing to check his work before sending. This once again shows the affect technology has had on the language, as speed takes importance over the use of Standard English. The use of inconsistent capitalisation is also seen in text E, we seethe pronoun of ‘i’ and ‘I’ showing once again the authors lack of education through their inconsistency. However, some proper nouns are capitalised such as ‘Russians’ and ‘John Macklin’ showing the author does have some recognition of grammatical rules.

The use of adjectives also shows differences between the two texts. In text E we see more informative adjectives used to help show the authors feelings and the grim situation which the y are in, for example we see ‘severe’ and ‘heavy rain’. In text F we see far more simplistic adjectives used giving less information but adding extra emphasis to the humour of the text, for example we see ‘mega’ and ‘honking’. In text E we also see the intensifier of ‘very severe’ added which gives extra emphasis to the feelings of the author. The use of the modal verb ‘would’ in text E shows the polite formal manner the author uses when addressing his father, while text F uses ‘could’ which further indicates the lack of information conveyed in the email.

QUESTION: Linguistic analysis of Text A (Evelyn) and Text C (Jones)

The two texts I am analysing are both exerts from diaries. However while text A is from John Evelyn’s personal diary in 1684, text C is a fictional entry from Bridget Jones’ Diary in 1996. This would create a difference in the intended audiences as text A is private and written to be viewed by the author alone, while text C is written to be viewed by a large audience of mainly females. The subject of text A is the freezing of the River Thames in 1684 and the ensuing festival which was held on the ice. The subject of text B is Jones getting prepared for a night out. Text A has a single purpose of being the author’s means of recounting events. However, Text C needs to appear as though describing events whilst attaining its primary purpose of entertaining its audience. Text A is written in the early modern period and shows distinguishing features of the time. Text C shows a clear progression of the English written language to a modern combination of spoken and written features, or the third way as David Crystal has labelled the mixture.

The structure of both texts clearly shows the change in the English language between the twp pieces. Text A is written in a linear manner as the author describes events from start to finish in a structured and chronological manner. Text C uses tines to help the reader differentiate between the events and show the progression of the fictional author’s day. Text A is written using one large paragraph, with a heavy use of punctuation. The use of colons and semi-colons would help identify the age of the text as modern texts mainly use them very little if at all, this is shown in text C as they do not appear. Text A also uses many commas which create long complex sentences. Text C although using many commas uses far smaller sentences as the author tries to keep the audience entertained.

The lexis also helps show the changing English language. In text A we see a relatively formal manner used throughout, for example we see ‘ladys’, ‘vessels’ and ‘printing presse’ used which indicate the author although writing a private account of events is still using a register which shows them to be educated and is indicative of the time compared to modern day. The mere fact that the author can read and write when the text comes from 200 years before education was compulsory would indicate that the author is probably of wealth and writes as they speak using Standard English. In text C we see a far more informal register being used, for example we see ellipsis in ‘Am going to get weighed’ and abbreviation in ‘approx’. This helps show the third way being used as the author brings in features of spoken English to add informality and shows a more modern form of writing informally. Semantic fields are used in both texts to add continuity. In text A we see a semantic field of religion with ‘judgement’ and ‘perishing’ which would be indicative of the time. In text C we see a semantic field of farming being used as an attempt at  humour as the author links women’s daily rituals to the rigours of farming, for example we see ‘harvesting’ and crop spraying’. We see emotive lexis used in both texts. In text A we see lexis which indicates the severity of the freeze with negative connotations in the lexis such as ‘perishing’ and ‘lightning-strock’. In text C we see negative connotations through emotive lexis aimed at creating humour as the fictional author attempts to show her distress at being alone, for example we see ‘panic’ and ‘ruin’. We see far more figurative imagery used in text C than in text A. However, in text A we do see the simile of ‘as if lighting-strock’, which helps give imagery to the text to describe the scene. In text C we see simile also with ‘blind as a bat’ as an attempt at humour. We also see the metaphor of ‘like harvesting and crop-spraying’ as another attempt at humour by likening women’s rituals to farming. The use of hyperbole is also see to help and unite the fictional author with the intended female audience with ‘is it any wonder girls have no confidence’. In text A we see euphemism being used to help the author bring a more appropriate register to the text with ‘lewder places’.  In text C we also see the use of reported speech as an attempt at gaining the support of the reader for the main character as she is stood up by a seemingly arrogant man, for example ‘Look Jones’ appears condescending from a man using a surname towards a female. We also see listing used in both texts to help speed the text along and add emphasis, for example in text A we see ‘Bull-baiting, Horse and Coach races, Pupet-plays and interludes’ while in text C we see ‘legs to be waxed, underarms shaved, eyebrows plucked, feet pumiced, skin exfoliated and moisturised’. In text C we see the use of field specific lexis showing the changing English Language as we see the use of corporate speak with ‘presentation’ and ‘spreadsheets’. This also shows lexical change in the form of compounding as two existing words have been placed together to form a new meaning with ‘spreadsheets’.

We see many features of archaisms in text A which help indicate the text to be far older than text C. We see archaic elision with ‘twas’ and ‘seem’d’. This may show the author writing in the manner of how the words were spoken at the time as although the author is educated they may not have been taught how to spell. We see other features which could indicate the spelling is reminiscent of speech, for example ‘onely’, ‘skeetes’ and ‘strock’. We also see an extra letters added to the end of many words such ‘printing-presse’. As the text is written after the introduction of the printing press in 1476 and the great vowel shift of the 13 th to 15 th centuries it is possible that the extra letters show the authors own idiosyncratic style of writing as the standardisation of spelling had already begun. The irregular capitalisation of common nouns would indicate that the author had little knowledge of the grammatical rules of the English language and simply capitalised all important nouns, for example ‘Cattell’ and ‘Ballads’ can be seen. We see the archaic inflection in ‘whilest’ which would further indicate spelling reminiscent of speech. The interchanging of Y and I is common in archaic texts and can be seen in text A with ‘yce’. This is a common feature left over from Middle English showing through this text that the feature had not yet been lost to the English Language over 500 years after it ended. We also see archaic lexis in the text with ‘bacchanalia’ which further shows the author to be learned as they use Latinate lexis to describe what kind of fair they had attended. This may be because of the time of writing being towards the end of the Renaissance and the reinvigoration of Latin culture and language. The use of archaic social views is also evident as the author refers to women as though second class and beneath men with ‘where the people and ladys took a fansy’. The mild taboo used in text C shows the difference in social beliefs as modern women are thought of as equal and able to use language such as ‘bloody’ without being discriminated against.

In grammar we see some similarities between the two texts. In both texts we see the use of abstract nouns which help give the text emotion and help give visual images to the author’s words, for example in text A we see ‘humour’ and in text C we see ‘confidence’. We see both text using proper nouns, in text A we see ‘London’ and ‘Thames’ indicating where the events are taking place and in text C we see ‘Daniel Cleaver’ used where the surname takes on its own meaning showing the characters nature of being a cold and inanimate object. However, we see far more uses of descriptive adjectives used in text C to help give visual images to the reader of the characters feelings, for example we see ‘flabby’ and ‘curly’. Text A has no adjectives which could help indicate that adjectives are used in text C to help keep the reader interested as it is a fictional piece. We see the use of dynamic verbs in both texts to indicate the amount of action taking place, for example in text A we see ‘sliding’ and in text C we see ‘plucked’. We see intensifiers used in both text to add extra emphasis and emotion to the texts, for example in text A we see ‘very seas’ and in text C we see ‘even worse’. In text A we see no pronouns as the piece is written for the author’s eyes only and they feel no need to seek any form of solidarity with the reader. However, in text C we see the use of many first person singular pronouns as the character appears to be distance themselves from the reader and attempt to gain feelings of contempt towards Daniel Cleaver as they seem to be lonely, for example ‘I’ is used throughout. Text C also uses the hyper-formal first person pronoun of ‘one’ when regarding the fictional author, this would help the reader gain the knowledge of the characters social status. In text A we see many forms of long complex sentences as is seen in the opening lines, this could indicate the author’s intellect. However, it could also indicate the author’s lack of knowledge regarding grammar and the use of punctuation. In text C we see the use of far more simple sentences, such as ‘he might have bloody well rung again’. These are seen more often in text C to break up the longer sentences forms and to keep the text entertaining. In sentence functions we see the use of declaratives used in both texts to help convey information, for example in text A we see ‘no vessels could stir out, or come in’ and in text C ‘he is on top-level job’. Declaratives are the only forms used in text A which is typical for a diary as the author simply states what has happened. However, in text C we see interrogatives through the use of rhetorical questions with ‘what’s wrong with me?’ These are used to help involve the reader in the story. In text C we also see imperatives in ‘must be complete in oneself as a woman of substance’. This helps give depth to the character as they attempt gaining an emotional link with character and reader.

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World English Example Essay

Subject: English

Age range: 16+

Resource type: Assessment and revision

Last updated

9 February 2024

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Top band, student written model answer for A Level English Language.

This essay demonstrates how to convey understanding of linguistic ideas by evaluating and challenging the views presented in the question and by other linguists. Students of all abilities will benefit from an example of effective essay writing which they can emulate in their own work. There is also an opportunity for students to plan their own answer to the question.

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Home — Essay Samples — Literature — Beowulf — Beowulf: The Elements of Epic Style

Beowulf: The Elements of Epic Style

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Published: Aug 1, 2024

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Grandiose language: a mark of epics, the heroic ideal: larger-than-life characters, epic battles: triumph and sacrifice.

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