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Understanding Context in The Crucible and The Dressmaker

August 3, 2022

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

Why Is the Context Important?

Understanding the context of the texts you are studying is essential if you are to satisfactorily respond to any prompt ( learn about the 5 types of prompts here ). Not only does it provide an insight into the society of the time and their views and values , it also allows for greater awareness of the characters’ motivations, resulting in a richer discussion in your essays. Discussing the context of the texts also makes for an ideal comparison which can be incorporated in the introduction as well as the body paragraphs. Moreover, context paragraphs are a great tool to have up your sleeves, as they can easily be adapted to almost every essay question, a real asset when attempting to write an essay in an hour. 

In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Ham’s The Dressmaker . Further down , I have also provided a sample paragraph as an example of a way in which I would go about writing a context paragraph in response to an essay prompt concerning the two texts. Both of these texts are set in fascinating and significant eras of human history so I invite you to conduct your own research after reading this! 

At first glance, the town of Salem, Massachusetts in 1692 and Dungatar, Victoria in 1950s Australia have little in common; however, both towns exist in stifling geographical isolation, allow myopic and parochial outlooks to flourish, and maintain an irrational but overwhelming fear of ‘the other.’ 

The Crucible, Arthur Miller

The Crucible is set in 1692 in Salem. The provincial, conservative town was established by English Puritans who, fearing persecution, fled from a Britain dominated by The Church of England. The first Puritans to arrive in Salem faced brutal conditions, including 'marauding Indians' and living on a 'barbaric frontier' that lay close to the 'dark and threatening…virgin forest' that they believed to be the 'devil’s last preserve'. In order to overcome these challenges, the people of Salem were forced to unify and remain diligent. In order to ensure efficiency, a strict and rigid way of life was adopted, where work and prayer were championed and individual freedoms and pleasures abhorred. Though this harsh way of life did allow the Salemites to stay alive, it forced them to suppress various natural human emotions such as joy and anger, so as to not detract from work and prayer. Further, the town had limited their interaction with the outside world, compelling them to instead be constantly surrounded by each other. This hazardous combination of repression of emotions and interaction with only a small pool of people spurred private jealousies and vengeance within the townspeople, and it is here that the play commences.

The Dressmaker, Rosalie Ham

In contrast, Ham’s novel takes place in 1950s rural Australia, in the fictional town of Dungatar. Despite being set centuries after The Crucible , Dungatar is rife with the same parochialism (great word to use for both texts, referring to a limited/ narrow outlook), resentment and gossip as Salem. The town’s physical isolation - it is surrounded by 'wheat, yellow plains' and seems to be a 'dark blot shimmering on the edge of flatness' - corresponded with their metaphoric isolation from global events, creating an intense fear of ‘the other’. Further, similarly to The Crucible , the stark physical isolation ensures that each individual’s social interactions are limited to the town’s small population, fostering a breeding ground for narrow-mindedness and prejudice. Ham’s description of the way 'the crowd screamed with lust, revenge, joy, hate and elation' after a local football match win reveals the underlying emotions of the town, repressed behind a veneer of respectability and perceived moral propriety. All it takes is a stimulus, which arrives in the form of outcast Tilly Dunnage, to uncover the malicious undertones of the provincial town. 

Example Context Paragraph

During VCE, I tended to use my first paragraph (in response to an essay prompt) as a way to explore the context of the texts I was studying, and relate the context to the essay prompt being addressed ( learn more about the different types of essay prompts here ). In this case, the prompt I have responded to is:

‍ Compare the ways in which The Crucible and The Dressmaker portray divided societies. 

I was able to adapt much of this paragraph below to whatever essay prompts I came across. 

The geographical isolation of rural, parochial towns can breed a kind of myopia amongst inhabitants and promote binary thinking. Salem is situated on the 'edge of wilderness’, with the 'American continent stretching endlessly West’. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to God’, inciting the irrational fear that 'the virgin’s forest was the Devil’s last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unity…lay the best promise of safety’, and hence were governed as 'an autocracy by consent' (2) . Similarly, in The Dressmaker , the town of Dungatar 'stretches as far as the silos' and is described as a 'dark blot shimmering on the edge of flatness’. 'The green eye of the oval' is a physical representation of the town’s predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobbery’, as well as fostering austere social expectations (4) . The totalitarian regime that governed Salem and their 'strict and sombre way of life' conditioned the people of Salem to repress natural human emotions so as to conform to the conservative and rigid values of society. Indeed, Miller’s description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemites’ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salem’s 'sect of fanatics’, the town is rife with hidden resentments and 'long-held hatreds of neighbours' (5) . Whilst moral respectability and piety conceal the true sentiments of the people of Salem, clothing is the mask for the 'liars, sinners and hypocrites' of Dungatar (6) . Though on the surface the town appears respectable, the true desires of 'the sour people of Dungatar' are revealed through their desire 'to look better than everybody else’. Their lack of connection with the outside world forces their constant interaction with one another and means that 'everybody knows everything about everyone' (7) . Thus, Miller and Ham postulate that geographical isolation inevitably forges unyielding social norms that repress human emotions and pits individuals against each other (8) .

‍ Annotations (1) In these two sentences, I’ve provided the geographical context of Salem.   ‍ (2) My description of the geographical location is followed quickly by describing the town’s beliefs and values, which have a large impact on the social context.  ‍ (3) Here, I’ve used the geographical context as a metaphor to explain the social context of Dungatar. ‍ (4) I’ve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSG’s CONVERGENT and DIVERGENT strategy is a useful strategy for this).  ‍ (5) I’ve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters.  ‍ (6) Here, I’ve outlined a subtle difference (or divergence ) between Dungatar and Salem.  ‍ (7) Once again, I’ve related the townspeople’s values and beliefs, as well as the physical context, to their behaviour. ‍ (8) I’ve ended with a meaningful comparison between the intent of the two authors. 

Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

Comparing The Crucible and The Dressmaker

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Written by Jordan Bassilious who achieved a perfect study score of 50, English Premier's Award and a 99.5 ATAR:

• Learn unique points of comparison through LSG'S CONVERGENT and DIVERGENT strategy and stand out from the rest of the Victorian cohort
• Sample A+ essays, with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+
• Advanced discussions like structural feature analysis, views and values and critical readings.

• Plot Summaries
• Themes, Motifs and Key Ideas
• LSG’s Bubble Tea (BBT) Strategy for Unique Strategies
• Structural Features Analysis
• Sample Essay Breakdown

1. Plot Summaries

Summary - the hate race .

Maxine Beneba Clarke’s seminal novel, The Hate Race, follows the childhood and adolescence of its author, who is the main protagonist. The book is a memoir, meaning that it is based around a recollection of her life and filtered through her psyche and experiences. The book begins with Clarke’s family, British citizens of Afro-Carribean descent, moving to Sydney, New South Wales. They settle in the town of Kellyville, which is known as a ‘white picket’ community. Although these communities largely don't exist anymore, what they once described was suburban environments where only Anglo-Australians lived. As you can probably imagine, this immediately caused problems for Clarke’s family, with suspicion from neighbours and racist interactions with other kids in the neighbourhood. Clarke initially focuses on her experiences in kindergarten, revealing how prejudice and discrimination can be inculcated (meaning, ‘taught to’) in children even from such a tender age. Clarke meets her first tormenter - Carlita Allen. Carlita makes every effort to exclude Clarke from participation in usual preschool activities, hurling insults across playgrounds and calling her ‘dirty’. Literally, of course, Carlita is referring to Clarke’s black skin colour, but, metaphorically, it reflects the deeply hateful implication that anyone with a dark complexion is inherently inferior and lesser than white Australians. The bullying doesn’t stop by the time Clarke reaches primary school. In fact, it intensifies, aided and abetted by teachers who consistently turn a blind eye to the constant, gut-wrenching racial abuse. One of the most salient (meaning, ‘important’) scenes arises when Clarke is asked by a teacher what her parents do for a living. Upon informing the teacher that her mother is an actor, and her father is a Mathematics Professor - the first British citizen of Afro-Carribean descent to attend a British university - she is met with the patronising assumption that she must be lying. Surely black people wouldn’t have the emotional and intellectual intelligence to perform such high-powered jobs? Clarke also develops eczema during her primary school years, leaving patches of lighter-coloured skin covering her face, and a newfound hope that, bit by bit, God is answering her prayers and making her white. In high school, the racist rot sets in even further. Clarke develops a new habit for scratching her skin at night to the point of bleeding and bruising. Looking back at this experience, Clarke theorises that this was her body’s way of expressing her extreme discomfort with being black. It gives us a picture of how horrific racism can truly be, and the ways in which it forces minorities into believing that there’s something wrong with them, instead of there being something wrong with the people hurling abuse in the first instance!

It is this stage of her life when Clarke deals with one of the most difficult parts of being a minority in a majority white country. Through her interactions with teachers, friends and boyfriends alike, she becomes deeply angry at those people who abhor racism themselves, but seem unable to step in when racist events are actually occurring. Clarke also deals with more nuanced experiences of racism - people who don’t intend to be racist, but end up making insensitive comments anyway. Whether intentional or not, these comments still hurt, and are still part of the challenges of growing up black in a white country. Nonetheless, Clarke continues to rise above the odds, becoming a prolific high school debater, maintaining her position at the top of the academic cohort, and forming a small but tight-knit group of friends whom she can trust. 

Clarke’s recollection of her childhood ends on a relatively abrupt note, with Clarke returning home to realise that her father has left the family for another woman. In a note to the family, he provides no explanation other than that he had a secret affair for many years. Suddenly, Clarke, her brothers, sisters and mother are left to pick up the pieces. In the epilogue, Clarke is now an adult with a child of her own. Walking down Melbourne’s North Road, she reflects on the challenges and opportunities to which her child will be witness. Clarke portrays it as the dual sadness and happiness of knowing that, in Australia, her children will surely have access to more opportunity than in most parts of the world - but it will come at a cost. Namely, they will also have to contend with the remaining undercurrent of racism that, even now, still seeps through Australian society. The unsatisfying end to the novel reflects the nature of racism and the experience of a minority growing up in a white country itself: there is no happy ending. Rather, life becomes a series of painful incidents interspersed with minor victories; those who stand up against racism, those who fail to do so and the hundreds of thousands of Australians who will forever grapple with a society that sees them as ‘ lesser than’ due to the colour of their skin. 

Summary - Charlie’s Country

Charlie’s Country , an Australian movie directed by Dutch-Australian Rolf De Heer, follows the story of Charlie, a First Nations man living in late-2000s Australia.

The movie is set in the wake of the 2007 Northern Territory Intervention. As a bit of quick context, this was an action taken by the Commonwealth Government under Coalition Prime Minister John Howard to send Australian Defence Force troops into the Northern Territory. It came in response to the ‘Little Children are Sacred’ report , which raised allegations of child sexual abuse and neglect of children in Aboriginal communities. The intervention also involved restricting alcohol consumption, quarantining a portion of welfare payments to Indigenous residents (with the justification that this would prevent it being spent on alcohol, pornography, cigarettes, etc.) and hefty fines as well as jail sentences for those forced to comply. It is important to note that, throughout the whole intervention, not a single person was prosecuted for child sexual abuse or any related offence. Nonetheless, this intervention had real world, drastic consequences - and that’s exactly what Charlie’s Country explores. At the time of de Heer’s film, Charlie lives in a remote Indigenous community. Signs of the intervention are all around - alcohol is banned from most communities, many individuals face personal bans on procuring alcohol, police officers dot the streets and citizens live under constant watch. Charlie, on a surface level, is a fairly happy-go-lucky individual; he exchanges jokes with police, is friendly with other elders and people in his community and doesn’t seem to do much else. As always with a movie like this - there’s a bigger story behind this all! Rolf de Heer takes us through an increasingly concerning image of Aboriginal communities in the wake of the intervention. Charlie visits his local housing officer and is unable to obtain a house. Here, we see that Charlie is willing to work and wants stable accommodation, but the government is unwilling to provide.

Going on a hunting trip with his friend, ‘Black Pete’, the two are stopped by police and have their guns, as well as the water buffalo they killed, confiscated. Yet again, two Indigenous men try to provide for themselves - but are stopped by a legal system more concerned with rules and procedure than listening to First Nations communities themselves. Charlie decides he’s had enough of having his every move and action monitored, and takes a stolen police car into the bush. Abandoning the car, he tries to live amongst nature for an unidentified amount of time. Cooking fish, performing traditional First Nations dances, painting on the bark and looking for shelter, Charlie finally appears to be home . Yet, as usual, it’s too good to be true - the extreme cold makes Charlie incredibly sick, and, before we know it, he wakes up in a Darwin hospital. After refusing further treatment from the white doctors who fail to understand Charlie’s situation and why he is so angry at what’s happened to him, the predictable cycle begins again: Charlie returns to his community, they all share alcohol as a way of coping with their current situation and flee when the police come running to confiscate the liquor. Charlie isn’t civil with the police this time. In a fit of anger - an outburst of emotion after decades upon decades of control and being denied access to any opportunity - he picks up a bat and smashes the police officer’s car window. Brutally beaten into submission, Charlie is imprisoned as the police officer remarks that he should never have 'gone soft on a blackfella’. 

Dragged before the courts, Charlie is imprisoned for assault. When the judge asks him to make a comment, he gives a lengthy speech in his native language. For de Heer, this acts as a symbolic assertion of the First Nations’ rights to their own culture, and a proud statement against the many governments that have continually placed barriers in the way of Indigenous Australians having the same opportunities as any one of us. Eventually, Charlie is released on parole. He expresses a deep desire to go home - but also a sense of defeat . He resolves, in the end, to believe that even if he will always live under the watchful eyes of the Australian Government, he can at least fight back and contribute by doing his bit to maintain the many cultures of our First Nations Peoples. Charlie teaches young Indigenous boys traditional dances, speaking proudly of when he performed a dancing ceremony for Queen Elizabeth in 1973 at the Sydney Opera House. The movie ends with Charlie staring mournfully into the camera, almost looking at the audience themselves. There seems to be no happiness in his eyes - nothing left but a sense of sadness and resignation. I know that, upon approaching the end of the film, I started to feel the same sadness that Charlie so evidently shows us. It’s a different type of emotion; one centered around the pain of knowing that we live in a country that still has not made peace with its past, and refuses to listen to the First Nations Peoples who know it best. Charlie’s Country exposes to us that Australia is a country where, even today, our First Nations citizens are not treated as equals. As such, de Heer’s film is a stark reminder that this state of affairs is not good enough - and that the responsibility for change doesn’t just lie with politicians and decision-makers . It’s our job too: and failure is not an option .

2. Themes, Motifs and Key Ideas

Through discussing Themes, Motifs and Key Ideas, we’ll gain a clearer understanding of some super important ideas to include in your essays. Remember that, when it comes to themes, there’s a whole host of ways you can express your ideas,  but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. We’ll be adhering to the CONVERGENT and DIVERGENT strategy. While we don’t go into detail into how to use LSG’s CONVERGENT and DIVERGENT strategy in this guide, I’d highly recommend you get familiar with it by reading How To Write A Killer Comparative .

Connection to Culture (CONVERGENT)

Both de Heer and Clarke offer a unified idea around culture: that being connected to one’s culture is inherently good and positive, and should be encouraged. Let’s break this down. The Hate Race and Charlie’s Country are both works that explore the challenges of individuals maintaining their culture in surroundings which would otherwise see them revert to the ‘standard’. In this case, because we’re talking about Australia, de Heer and Clarke take us through the same story of an overarching, implicit acceptance that the Christian, Anglo way of life is the norm. This standard has deep roots in the colonisation of Australia, and the resulting claim of sovereignty by the Crown. Even as this country has evolved into a multicultural land, it still bears the marks of a ‘European’ country; whether that be our British legal system, Anglo-American democracy or any of the other institutions we have taken from the Western world.

It is in this context that de Heer and Clarke go to special lengths to explain why people should be empowered to connect to their culture. To our author and director, culture is an essential element of who you are, and it is this identity which carries people through life . For Maxine, the shock of realising that she may be the descendant of African slaves, and had lived so many years without having any idea this may be the case, is drawn from the fact that she, as a child, feels incredibly disconnected to who she is. Clarke’s memoir thus reminds us that ‘growing up black in a white country’ is an experience that often results in minority children not truly learning about who they are. Travelling through life, Maxine is continually disconnected from her culture, to the point where performing ‘African tribal dances’ to the school is nothing more than a joke. Even in her own estimation, Maxine has internalised (meaning, she’s adopted it herself) the view that her culture is irrelevant, and there’s no real reason for her to properly engage with all its complexity and beauty.

If we consider Charlie’s perspective, his involuntary burst of tears at the hospital stems from a recognition that his people have been denied the free opportunity to embrace the world’s longest-surviving culture; the First Nations traditions that date back 40,000 years. With his friend slowly dying of lung cancer, at that moment, the old man is more connected to the cigarettes that slowly sapped his life away than he is to the First Nations way of living. Unable to hunt, gather as a community, work the lands as the First Nations traditionally would or embark on any other activity that would keep them connected to their culture, this country’s first inhabitants are instead told to abandon ‘the old ways’ and embrace Anglocentric standards of life.

It is a shocking reminder that, without culture, people are left like driftwood swimming through a vast ocean. By that, I mean that people are left without an anchor through which they can independently experience the world. Instead, their understanding of themselves, their sense of self and their actions in life are all filtered through the preferences of the dominant majority.

Intergenerational Disadvantage (DIVERGENT)

Whilst Charlie’s Country and The Hate Race share many similarities in terms of the negative impacts of racism and prejudice, the texts carry different connotations when it comes to the notion of intergenerational disadvantage. 

To explain this idea, let’s first define and unpack ‘intergenerational disadvantage’. We could spend days talking about this, but, simply, intergenerational disadvantage refers to cycles of poverty and criminality that pass from generation to generation, worsening with time. Think of it this way: assume you’re a teenager - or at least still financially reliant on your parents. If your parents were to lose everything they owned today in a massive financial crisis, you’d be in big trouble too, right? Suddenly, that part-time job you had that was helping you save money might be the only income for the entire family. You might even have to drop out of school, TAFE or university to care for everyone, denying you a higher paying job in the future. 

You’ll have to work your tail off for years on end. Since you’re supporting an entire family, say goodbye to saving up for a house or to pay for your kid’s education in future. Your kids now have to start from square one with less opportunity than the people around them, meaning it’ll be harder for them to succeed in life.

When we apply this to Charlie’s Country, the analogy becomes quite clear. Charlie lives in a community where there is no opportunity. Because there are no jobs - and no real way to gain steady, meaningful employment - people fall into alcoholism, marijuana and anything else that’ll help them cope. Lung cancer and alcoholism shorten lifespans for people like the old man with failing kidneys, while no employer is going to waste a chance on those still living. There is simply no ability to ‘succeed’ here, because the local residents don’t see that there’s anything worth working towards. Hopeless, unheard and disillusioned, it becomes easier for Charlie’s community to just accept their sorry lot in life than futilely work towards changing it.

We aren’t made witness to this same cycle in The Hate Race. Instead, Bordeaux Clarke is the epitome of someone who has broken the cycle of intergenerational disadvantage; becoming the first individual in his community to attend a British university. Marrying a high-powered Guyanese actress in Cleopatra, the married couple represent success and a defiance of racist stereotypes, not the grinding poverty and disadvantage we see in Charlie’s Country. Although Maxine experiences terrible discrimination and prejudice as a child, there is always a sense that she will academically remain on top. Maxine uses the prejudice with which she’s faced as a motivator, giving her the impetus to consistently emerge successful; whether that be in her schooling, cross-country running, as a debater or any other academic endeavour. Sure, she faces racism that inhibits her from always succeeding - the Lions Club competition is a great example of such - but this isn’t so much about intergenerational disadvantage as it is about racism, plain and simple.

Ultimately, the difference between the two is a matter of emphasis. It’s not that intergenerational disadvantage doesn’t exist in The Hate Race, but more so that Clarke is choosing to focus on how even the most successful individuals can suffer from prejudice and racism. This in turn helps us to understand that racism impacts everyone , and we should never pretend it isn’t a massive problem. Conversely, Charlie’s Country is all about social disadvantage, and explores how prejudice can prevent oppressed individuals from becoming successful in the first place. 

3. LSG’s Bubble Tea (BBT) Strategy for Unique Strategies

Why is an interpretation important.

Your interpretation is what English is all about; it’s about getting you to think critically about the essay topic at hand, to formulate a contention (agree, disagree, or sit on the fence) and argue each of your points with the best pieces of evidence you can find - and it’s something you might already be starting to do naturally.

In this section, we aim to help you develop your own interpretation of the text, rather than relying on your teacher, tutor or even a study guide (including this one) author’s interpretation. By developing your own interpretation, you become a better English student by:

• Writing with meaning. For a text to be interpreted, you need a text and an interpreter (i.e. you!). Whenever we read a new text, our interpretation of a text is shaped by our pre-existing beliefs, knowledge and expectations. This should be reassuring because it means that you can leverage your own life experiences in developing a unique interpretation of the text! We’ll show you how this works in the next point.
• Remembering evidence (quotes or literary devices) more easily. If you know you admire a character for example (which is in itself an interpretation 😉), you can probably remember why you admire them. Perhaps the character’s selflessness reminds you of your Dad (see how you’re using real life experiences mentioned in Point 1 to develop an interpretation of the text?). You will then more easily recall something the character said or did in the text (i.e. evidence) that made you admire them.
• Having an analysis ready to use alongside the evidence. As a result of Point 2 , you’ll be able to write a few sentences based on your own interpretation. Rather than memorising entire essays ( we’ve talked about this before ) and regurgitating information from teachers, tutors, study guides and other resources - which can be labour intensive and actually detract from the originality of your essay - you’re approaching the essay with your own thoughts and opinions (which you can reuse over and over again across different essay topics).

Let’s look on the flip side. What happens when you don’t have your own interpretation?

When you don’t take the time to actively think for yourself - i.e. to think through your own interpretations (we’ve talked about the importance of THINK in the THINK and EXECUTE strategy here ) - when it finally comes to writing an essay, you may find it difficult:

a) to get started - formulating a contention in response to the essay topic is challenging because you have no strong opinion about the text ,

b) complete the essay - writing up arguments and using evidence in paragraphs becomes challenging because you have no strong opinion about the text ,

c) to score higher marks - ultimately, you end up regurgitating other people’s ideas (your teacher’s, tutor’s or from study guides) because you have (you guessed it) no strong opinion on the text .

Having your own interpretation means that you’ll eliminate issues a, b and c from above. Overall, you’ll have opinions (and therefore contentions) ready for any prompt when you go into your SACs or exams, which means it’ll be easier not only to write a full essay, but an original and insightful one as well.

To overcome the issues above, you need to be confident with your own interpretation of the text. This doesn’t come naturally to a lot of students, and it makes sense why. After all, so many subjects reward specific answers (2 + 2 = 4), whereas English is tricky because there’s so much more flexibility in what constitutes a ‘correct answer’. It’s scary treading the sea of different possible interpretations because you’ll ask yourself questions like:

• How do I know if my interpretation is correct?
• How do I know if my evidence actually backs up what I’m arguing?
• What if I disagree with my teacher, and they mark me down for a differing opinion?
• Or worse - I’m not smart enough to come up with my own interpretation!

Let me say that you are absolutely smart enough to develop your own interpretation, and I’ll show you how to do so in A Killer Comparative Guide: The Hate Race & Charlie’s Country with LSG’s unique strategy - the BUBBLE TEA (BBT) strategy . By following our step-by-step framework, you can be confident that your interpretation is valid, that it backs up your argument, and that most importantly, you won’t lose marks for it!

4. Structural Features Analysis

In How To Write A Killer Text Response , we cover Metalanguage . A Structural Features Analysis and Comparison goes over a lot of the same material, and will help elevate your essays to the next level. Knowing quotes and themes is essential, but being able to pair that with analysis of the title, setting, narrator and overall structure - we'll cover title here - shows the examiner that you really know exactly what you’re talking about. This section will be especially crucial for metalanguage topics that are all about how Charlie’s Country and The Hate Race are structured , so, enjoy!

The title of a text is always significant - and this text pairing is no different. First, of course, please do keep in mind that there is no universally accurate interpretation of what a title means. I’m giving you my assessment, but the author and director could very well disagree themselves! That’s okay, because as long as we back it up properly, your interpretation is as valid as any. As always, that’s the beauty of English. Let’s first unpack The Hate Race. What this title signifies is that, for minorities in Australia, life is constantly akin to a race. There is no rest, no comfort and no sense of home when your mind is preoccupied with all the ways you don’t belong. Australia, as a colonial outpost representing the Crown in a region that is overwhelmingly non-white, was once proud of its discriminatory stances; holding itself as the 'White Man’s Paradise'. It is in this context that racism, for Clarke, is not just a reality that lurks beneath the surface, but rather, a guiding tenet of Australia since 1788. With this overarching narrative, it is also important to acknowledge that the mere experience of racism is immensely emotionally, physically and mentally taxing for Clarke, and all people of colour. Being denied a firm sense of self, and constantly being forced to justify one’s own existence isn’t easy, and becomes a ‘race against time’ to see who can cope and rise above, and who will be swept away along with the tide. This sorrowful reality is what engenders the never ending race against being consumed by such hatred, because, for non-white Australians, there simply is no other choice. If they stop running, they run the risk of being consumed by the hatred themselves and becoming so cynical and disillusioned that they forget their culture and accede to the Anglocentric, white majority. 

Moving to de Heer’s film, Charlie’s Country, the title reflects a simple reality: this is Charlie’s country. However, when de Heer speaks of ‘country’, he is really talking about ‘Country’; the Indigenous notion of connection to and respect for one’s traditional lands. Nurturing this connection is a sacred responsibility, and the film reminds us that, despite Charlie’s many trials and tribulations, the land on which he lives is truly his own. Throughout the film, Charlie maintains a keen awareness that what is happening to him is unjust, and, unlike Maxine, he doesn’t need someone to convince him that he belongs. Whatever Anglo Australia does, it cannot change the continuing legacy of his people and their sovereignty. To Charlie, it is laughable to think that his Country - which the First Nations have nurtured and kept in common use for 40,000 years - could suddenly become someone else’s property in less than 200 years. He may not have any legal authority under the Crown, and his people may be dispossessed of their sovereignty and authority, but this cannot and will not change the remaining truth of First Nations sovereignty. De Heer’s film title thus challenges us to confront our own perceptions of Australia and remember that we all live on stolen land.

Essay Topic Breakdown

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE strategy , as taught in our How To Write A Killer Text Response study guide. The LSG's THINK and EXECUTE strategy follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

'I’m free now!' ( Charlie’s Country ) 'My children are the descendants of the unbroken.' ( The Hate Race ) Compare the characters’ understanding of freedom in the two texts.

Step 1: Analyse

Let’s break down the prompt. This is a quote-based prompt, meaning the quote must feature somewhere in your essay . Ensure that you have a good understanding of the place from which the quote is drawn. In this case, Charlie’s exclamation of joy features when he escapes to the wilderness and is able to cook, dance and provide for himself. The quote from The Hate Race is the last line of the memoir, with Clarke expressing the sentiment that her children belong in Australia and will be as strong as their parents.

Step 2: Brainstorm

The next part is to establish the link between the quote and the topic. The essay topic at hand asks us how 'freedom' is understood, so we need to actually understand freedom itself in relation to the quotes provided. For de Heer and Clarke, freedom isn’t an abstract concept relating to rights, liberties and responsibilities. Rather, freedom is found when people have the ability to be themselves, own their culture and live their truth. For Charlie, that mainly relates to his right to live in his country and maintain the traditional ways of the First Nations Peoples. Clarke, however, is more focused on the balancing act of finding freedom through a multicultural society that includes all, and in doing so celebrates the contribution that all cultures make into the melting pot that is Australia.

Step 3: Create a Plan

There’s no one correct way to structure your paragraphs for Charlie’s Country and The Hate Race . However, I find it consistently helpful to follow a chronological structure. This refers to going through events of the memoir and film in the order they actually occur, and finding unique points of analysis based around these chronological groupings.  

We also need to think of examples and points of comparison. Base these around the themes we’ve gone through, so you can easily identify DIVERGENT and CONVERGENT points of comparison. I’ll walk you through my thinking.

Paragraph 1 – unable to experience freedom because systems exist to stop individuals from embracing their own culture

• Kellyville and Alice Springs are immediately established as communities where rules and standards of association are both made and enforced by white authorities. The types of authorities and the prevalence of this overarching system of control differs between The Hate Race and Charlie’s Country , but are not any less harmful.

Paragraph 2 – attempts at pushback are rebuffed, resulting in further punishment for the simple crime of failing to conform

• Anglo Australia maintains its dominance through an assumption that minority Australians and First Nations Peoples will not question their place. Thus, when there is even the smallest semblance of resistance, punishment is the only solution. 
• The difference here is that while Charlie wages an active resistance against white authorities, Maxine is moreso placed into submission by the repeated failure of her pleas to be heard by anyone in a position to change what is occurring. At the centre of both situations, though, is a desire to break free of white Australia’s chains.

Paragraph 3 – finding cultural freedom is a slow process of change, but one that begins with self acceptance

• There is no happy ending to either The Hate Race or Charlie’s Country. Freedom does not suddenly spring forth. Instead, our author and director elucidate that cultivating freedom is a slow process. For Charlie, that begins with embracing his culture again and seeking to keep it alive. On Maxine’s part, it is about refusing to be broken by her past, and instead using her trauma as a motivator to build a better future.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The Hate Race & Charlie's Country study guide !

This blog was updated on 23/10/2020.

2. Historical Context

3. Part 1: Plot

4. Part 1: Quotes and Analysis ‍

5. Themes, Motifs, and Key Ideas

6. Character Analysis

7. Structure

8. Sample Essay Topics

9. Essay Topic Breakdown

The Dressmaker 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 .

Set in Dungatar, a barren wasteland of traditionalism and superstition, isolated amidst the rapidly modernising post-World War II Australia, acclaimed author Rosalie Ham’s gothic novel, The Dressmaker , provides a fascinating window into 1950s Australia. I find it to be one of the most intriguing texts of our time - managing to weave together a historical narrative with humour, wit, and modern-day social concerns regarding patriarchy, class, and the effects of isolation.

The Dressmaker is one of those texts which reinforces why studying English can be so great when you give it a proper chance. This subject isn’t just about studying books and writing essays, it’s also about learning new insight you’ll carry with you throughout your life. Specifically, The Dressmaker offers real insight into some of the most pressing issues that have been around for centuries - how communities respond to crisis, why certain groups are marginalised, and how we should respond to tyranny and intolerance. Ham’s novel is layered with meaning, character development, and a moving plot which really helps us reflect on who we are as people. Not every book can do that - and, seemingly, on a surface level, you wouldn’t expect a novel about fashion and betrayal to do it either. But somehow, it just does, and it’s what makes The Dressmaker one of my favourite books of all time.

Historical Context

Before we move on to looking at The Dressmaker’s plot and delving deep into analysis, it’s really important to understand the main historical context which underpins the novel. By ‘historical context’, all we mean here is the factual background which tells us why Rosalie Ham wrote her novel, and why she chose the particular setting of Dungatar. After all, Dungatar is a fictionalised community, but its references to post-World War II Australia are very real. The main message I want you to take from this section is that understanding 1950s Australia is essential to understanding Dungatar.

Australian Geography and the Great Depression

Before we delve into talking about this historical theme, I’d like to first acknowledge that Australia was colonised against the wishes of its First Nations peoples, and also recognise that sovereignty was never ceded. This discussion broadly reflects the experiences of colonised Australia because that is the frame which Rosalie Ham provides. However, at Lisa’s Study Guides, we acknowledge the traditional owners of the land on which this study guide was written, edited, and published, and pay our respects to elders past, present, and emerging. 

Ham’s fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The ‘Outback’ doesn’t exactly have any borders, so which regions of Australia count as part of the 'outback' will be slightly different from person to person. A general rule to help us understand the Outback is that it is way out in the centre of the country, far away from urban Australia. Its main industry is pastoralism, which refers to the grazing of cattle, sheep, and other species such as goats. This is a tough lifestyle, and as such small towns and a lot of room for livestock is preferable. These communities are often isolated, and don’t really communicate with the outside world unless it’s about trading their livestock into the cities. Isolation tends to create its own culture, practices, and social standards. For Dungatar, we see massive economic divides and strict expectations around the role of men and women. For instance, the McSwineys live in absolute poverty, yet Councilman Evan and his family are relatively wealthy. Most of the women in the town either care for children or stay at home, reflecting the outdated idea that it is the role of the man to work, and the role of the woman to be a homemaker. As much as we can look at these ideas and realise how flawed they are, for Dungatar it is a way of life to which they’ve stuck for decades. Changing this way of life would be dangerous for them because it means they have to completely reconsider the way they live.

Part 1: Plot

• Myrtle Dunnage arrives in Dungatar after many years, seeking to care for her mother Molly Dunnage. 
• Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatar’s eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up ‘The Hill’, which is where Molly lives. 
• While Tilly is caring for Molly, mental and physical illness causes her to believe that Tilly is an outsider who wishes to poison her. Tilly perseveres in order to shower, feed, and clothe the woman, as well as clear out the house.
• The perspective changes to Sergeant Farrat, who is patrolling the town centre a day later. He sees a returned William Beaumont sitting in a car. Moving into Muriel and Alvin Pratt’s General Store, Farrat claims to be buying fabric for his house. Their daughter Gertrude, who is reading a fashion magazine, realises that the material he is buying fits with the latest skirt designs across Australia.
• After learning about Mr Almanac’s pharmacy, the footballers move into Purl and Fred Bundle’s pub. 
• The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. They’re said to live in the tip at the edge of town. 
• The following weekend Tilly and Molly leave The Hill to attend the football match played in Dungatar between the two neighbouring towns, Itheca and Winyerp. Lois Pickett and Beula Harridene give her an immediately negative reaction, taking offence when Molly questions whether their cakes are poisoned.
• After getting medicine from Mr. Almanac and his assistant Nancy, Tilly and Molly run into Irma, his sickly wife. Her arthritis makes mobility difficult, and as such she is found sitting on the bank of the river, where she asks Tilly not to let the town know that she had been cooking meals for Molly in Tilly’s absence.
• Nancy and Sister Ruth Dimm are shown to be having a secret relationship in the back of the phone exchange building before the perspective moves back to Buela Harridene, who demands that Sergeant Farrat investigate the McSwiney children for supposedly pelting her roof with stones.
• Tilly sits on the riverbank, remembering her memories and trauma in Dungatar, with the crucial event being when Stewart Pettyman attempted to headbutt Tilly, but she moved out of the way, causing him to ram into a wall, snap his neck and die.
• Marigold and Evan Pettyman are introduced to the audience, with Marigold being a nervous individual who is put to sleep by Evan with pills every night and sexually assaulted.
• Following Dungatar’s victory in the grand finale, which sends frivolity and celebration throughout the town, a package arrives for Tilly. Ruth reads through all its contents after picking its lock whilst Tilly reluctantly meets with Teddy, who continues to visit her. 
• Tilly and Molly visit the Almanacs for dinner, wherein Tilly’s medicine causes Irma’s pain to disappear. Although Mr Almanac is unpleasant – stating that Tilly can never be forgiven for Pettyman’s death – the night moves on, Tilly returns home and is visited by Teddy yet again. 

Part 1: Quotes and Analysis ‍

“She used to have a lot of falls, which left her with a black eye or a cut lip.”

Here, Ham subtly hints that Irma Almanac’s injuries were not solely due to ‘falls’, as it is also said that once her husband grew old the ‘falls’ progressively ceased. Abuse of women is common in Dungatar, and it is almost expected that women will be subservient to men and do as they demand.

“His new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.”

Sergeant Farrat subverts social expectations placed upon 1950s men by adoring feminine fashion. However, the fact that he is forced to hide his passion reveals how, in conservative towns such as Dungatar, individuals are forced to suppress their true selves in order to fit in with the broader population. There is no room for individuality or creative expression, as this is seen as a challenge to Dungatar’s social order and the clear separation between the roles of men and women.

“What’s the point of having a law enforcer if he enforces the law according to himself, not the legal law?”

Buela Harridene pretends to care about the enforcement of the law, but her true concern is bending the law to her own will to make those who step outside of their socially defined roles suffer. She is at odds with Sergeant Farrat as he seeks to control the townspeople’s worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.

“Well let me tell you if he’s got any queer ideas we’ll all suffer.”

Although this specifically refers to William Beaumont, it alludes to the broader picture that the people of Dungatar believe that any outside ideas fundamentally threaten everything about the way they live. Even before Beaumont has opened his mouth, he is already a threat since he may have witnessed another way of living disconnected from Dungatar’s conservatism.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Dressmaker Study Guide.

Themes, Motifs, and Key Ideas

Isolation and modernisation.

One of the central conflicts in The Dressmaker is between the isolated town of Dungatar, and the rapidly modernising surroundings of post-depression 1950s Australia, as we established in Historical Context . Ham uses this dichotomy (meaning when two opposing factors are placed right next to each other) to question whether isolated communities like Dungatar really have a role in the modern world . 

Our clearest indication that Dungatar is not only traditionalistic, but absolutely reviles change and outside influence , is right at the start of the novel, when a train conductor laments that there’s “naught that’s poetic about damn [progress].” Here, we see the overriding contention of Rosalie Ham’s novel - that because a community like Dungatar has been isolated for so long, it has become absolutely committed to maintaining its traditionalism at all costs. There are more symbolic reflections of how stagnant the town has become, such as the fact that Evan Pettyman, the town’s elected Councillor, has been in the role for multiple decades without fail - or that the same teacher who ostracised Tilly as a child, Prudence Dimm, is still in charge of the town’s school. 

Social Class

The Dressmaker speaks extensively about social class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheque to paycheque and struggling to get by are ‘lower class’. 

It's also important to introduce the notion of a classist society. A classist society is one where all social relations are built on these aforementioned economic and social divides - in other words, everything you do in life, and everything you are able to do , is built on where you sit in the class structure. 

For The Dressmaker , the question then becomes - "how does class relate to Dungatar?" Well, Dungatar is one of the most classist societies around, where societal worth is explicitly based on one’s position in the class structure.

Femininity, Fashion, and Patriarchy

By now, you’ve probably realised that The Dressmaker ’s title is significant. Fashion and ‘dressmaking’ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar . We’ll go into this further, but Ham specifically delves into the power of fashion as a form of expression which empowers people and their femininity , yet she also examines how, in a community like Dungatar, fashion nonetheless ends up being entirely destructive.  Dungatar and Femininity

The idea of femininity describes, on a basic level, the ability of a woman to express herself independent of any man. Others would describe femininity in more definitive terms, but it’s really in the eyes of the beholder. What’s explicitly clear, however, is  that, in order to suppress femininity, women in Dungatar are repressed and kept under the control of men. Marigold Pettyman is raped by her husband, Evan Pettyman every night, while the “ladies of Dungatar…turn their backs” when they see the Councillor coming - knowing his crimes, but being too afraid to challenge him. Above all else, Dungatar exists within a patriarchal framework, which is one where men hold structural power and authority, and that power relies on keeping women silent and subservient. In such a society, the role of women in Dungatar is vacuous (meaning that they don’t have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband. 

Fashion as Empowerment

Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if it’s in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tilly’s dressmaking sees her eventually transform at her wedding, even though she is initially described as a “good mule” by Sergeant Farrat; symbolically being stripped of her humanity and beauty by being compared to an animal. However, Gertrude becomes the spectacle of the town at her wedding, wearing a “fine silk taffeta gown” and presenting an elegant, empowered image. The townspeople even note that Tilly is an “absolute wizard with fabric and scissors”, and, with the use of the word ‘wizard’, it becomes evident that the women of Dungatar are absolutely unaccustomed to having any form of expression or individuality - a patriarchal standard which Tilly challenges through her work. 

Think also about Sergeant Farrat. Even if he isn’t a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his “gingham skirt” and secretive love of female fashion is utilised by Ham to demonstrate that, even in a patriarchal settlement like Dungatar , fashion is immensely empowering and important.

Fashion and Destruction

However, as always, Ham elucidates that there too exists a dark side to fashion in a town like Dungatar. Ultimately, the women of Dungatar, in their elegant dresses, end up looking like a “group of European aristocrats’ wives who had somehow lost their way”. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As “aristocrats’ wives”, they are still tied to a patriarchal system in which, even if they were better dressed, nothing was ultimately done to overcome their tradition for rumour, suspicion, and ostracising outcasts. Indeed, this becomes most evident at the Social Ball, where, despite wearing Tilly’s dresses, her name is “scrubb[ed] out” from the seating list - symbolically expressing a desire for Tilly’s modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses! 

Character Analysis

Tilly dunnage .

Tilly, or Myrtle Dunnage, is the protagonist of The Dressmaker , and an acclaimed dressmaker trained in Paris . Analysing Tilly requires an understanding that she believes she is cursed: starting with being exiled from Dungatar after the accidental death of Stewart Pettyman, and then finding her “seven month old” baby Pablo “in his cot...dead”, as well as witnessing the deaths of Teddy and Molly. In her own words, she is “falser than vows made in wine”, and does not personally believe she can be trusted. This pessimistic perspective on life inspires Tilly to adopt an incredibly individualistic understanding of the world; believing that the only way for her to survive is embracing her individual worth and rejecting toxic communities. Indeed, although Tilly initially arrived in Dungatar to care for her mother - a selfless act - the town spiralling into vengeance only confirmed Tilly’s pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on “nothing ever really chang[ing]”, and therefore the maintenance of a culture of rumour and suspicion . Indeed, in “raz[ing Dungatar] to the ground”, Rosalie Ham reminds us that Tilly is an unapologetically individually-focused person, and will not tolerate anyone, or anything, which seeks to make her conform to the status quo and repress her individuality.

Molly Dunnage 

Molly Dunnage is Tilly’s mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as ‘Mad Molly’ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being “tormented” by Evan Pettyman into having his illegitimate child and seeing Tilly exiled from Dungatar, the malicious actions of the community drive her into insanity. Even in her incapacitated and crazed state, Molly holds such love for Tilly that she attempts to stop her engaging with the community, and thus the symbolism of Molly “dismant[ling] her sewing machine entirely” was that, due to her experiences, she did not believe that the people of Dungatar would ever accept Tilly, either as a dressmaker or a person . Molly’s death is ultimately a pivotal event, and awakens Tilly to the fact that only “revenge [could be] our cause”, and thus that Dungatar is fundamentally irredeemable.

Teddy McSwiney 

Teddy McSwiney is the eldest son of the McSwiney family, Dungatar’s poorest residents. Teddy is a unique case, as although he’s a McSwiney, he is noted for being incredibly well-liked in the town - even going so far as to be described by Purl as the town’s “priceless full forward” in Dungatar’s AFL team. Nonetheless, as we discussed under the Social Class theme, Dungatar remains an unashamedly classist society, and as such, despite Teddy being valued in his usefulness as a footy player and the “nice girls lov[ing] him”, he “was a McSwiney” - discounted from the town’s dating scene or any true level of social worth. Teddy becomes essential to the plot when he and Tilly spark a budding romance. Whereas the majority of Dungatar rejects Tilly or refuses to stand against the crowd, Teddy actively seeks to remind Tilly of her worth - saying that he “doesn’t believe in curses”. However, his death after suffocating in a “sorghum mill” reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion.  

Sergeant Farrat 

Sergeant Farrat is one of The Dressmaker’s most interesting characters. On the surface, he’s nothing but a police officer who manages Dungatar. However, Farrat’s position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the “legal law”, yet must also contain the influence of malicious individuals such as Buela Harradine who would otherwise use the enforcement of that law to spread slander about individuals like the McSwineys, who she considers “bludgers” and “thieves”. Despite Dungatar’s complications, Farrat considers the townspeople “his flock”, and this religious, Christ-like imagery here tells us how he is essentially their protector. Farrat is, in essence, entrusted with preventing the townspeople from destroying themselves (by now, we all know how easily the townspeople slide into hatred and division!). Here’s the interesting thing though - at the same time Sergeant Farrat is protecting Dungatar, he is also personally repressed by its conservative standards. Rosalie Ham establishes Farrat as a man with a love for vibrant, expressive, female fashion, and from his “gingham skirts” which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatar’s conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddy’s death, Tilly destroys his house along with Dungatar anyway - signalling that, no matter how hard Sergeant Farrat tried to reconcile his position as protector of Dungatar and his own person, the town could not be saved.

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

The Dressmaker is written in the Gothic style, which means it combines romance with death and horror, particularly horror of the emotional kind. The Dressmaker is divided into four sections, each named after a type of fabric Tilly uses in her work. You can use these in your essays to show how important dressmaking and fashion is to the plot’s progression, especially considering each section starts with fabric. The four types are:

A fabric made from cotton or yarn, with a checkered shape. Gingham is often used as a ‘test fabric’ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tilly’s return to her hometown and complicated past. The name is thought to originate from a Malay word meaning ‘separate’, mirroring Tilly’s feelings of isolation from the rest of Dungatar. In this section of the novel, Sergeant Farrat also buys gingham fabric to secretly make into a skirt, symbolising how the town is still rife with secrets and a disparity between the public and private personas of its inhabitants. 

2. Shantung

A fabric used for bridal gowns. Gertrude is married in this section and her dress, which Tilly makes, is the first instance where the town witnesses her work. Shantung originates from China, matching this notion of exoticism and foreignness which seeing the dress spreads among the townspeople. 

A fabric noted for its ability to be used for a wide variety of purposes. This is the section in which the ball occurs and a variety of Tilly’s dresses are unveiled for the town to see. 

A richly decorative fabric made with threads of gold and silver. Brocade is used primarily for upholstery, drapery, and costumes. This is a reference to the costumes of Dungatar’s play, the climax of the novel which occurs in this section.

Sample Essay Topics

1. “They looked like a group of European aristocrats’ wives who had somehow lost their way.” Fashion is both liberating and oppressive. Discuss.

2. How does Rosalie Ham represent the power of love throughout The Dressmaker?

3. Gender repression is rife in The Dressmaker . To what extent do you agree?

4. “Damn progress, there’s naught that’s poetic about diesel or electric. Who needs speed?” What is Ham’s essential message about progress in The Dressmaker?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Dressmaker Study Guide to practice writing essays using the analysis you've learnt in this blog!

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Theme-Based Prompt: Rosalie Ham’s The Dressmaker condemns fundamentally oppressive communities. Discuss.

We’ve got a theme-based prompt here, which really calls for your essay to be explicitly focused on the theme at hand. That means that we shouldn’t stray from the idea of ‘oppressive communities’. Keep it as the centre of your essay and look at how events relate to this idea - we’ll break it down more in Step 2 so you can properly explore it.

Because there’s a ‘Discuss’ qualifier added to the end of the prompt, a clear and concise contention is really important. What you’re being asked to do is, again, stick with the topic frame. That means that going for the usual “two agree, one disagree” structure is decent, but I wouldn’t suggest it as the most efficient way to go. Instead, what you’ll see that I do with this essay is ‘discuss’ how the topic is present throughout all three of our arguments.

Let’s start by breaking down the key words of the topic.

We have the idea of an ‘oppressive community’, which refers to communities that are built on marginalising certain individuals so the majority can maintain power . This is quite a clear reference to Dungatar, but expect that most essay questions for The Dressmaker won’t directly reference Tilly or the town, even if they’re quite clearly talking about them. Something for which you should look out – don’t let the wording phase you!

The addition of the word ‘fundamentally’ doesn’t change that much, but what it does tell us is that the essay is asking us to agree that Dungatar is oppressive to its core. In other words, its ‘fundamentals’ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means you’re going against the topic in a ‘Discuss’ prompt which, as we discussed above, isn’t the best option in my view.

One of the most logical ways to approach this topic is a chronological structure. By that, what I mean is following the text in the order events occur; before Tilly’s arrival, during Tilly’s time in Dungatar, and the consequences that arise after they make her an outcast once again.

This way, you can stay on topic and look at how Dungatar is oppressive even before Tilly shows up again, how that ramps up as she establishes her dressmaking business, and what Ham’s final message is on rejecting oppressive communities and embracing individual worth.

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

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

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

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[Video Transcription]

Most people commonly mistake Comparative (also known as Reading and Comparing, and an array of other names) as just two Text Responses rolled into one essay. They think that Comparative is Text Response, except that instead of writing about one text, you’re writing about two.

And boy are they wrong.

Most people are also aware that the main difference is that Comparative looks at similarities and differences between the two texts. However, this is where the challenge begins.

As you study your texts in detail, you’ll come to realise that the majority of students keep using the same old examples – example X for similarities, and example Y for differences.

To stand out from hundreds of other students studying the same texts, you need a strategy. You need something that will wow your examiners and will catapult you to the top of the VCE cohort.

*Drum roll*

Introducing you to my golden rule, the CONVERGENT and DIVERGENT STRATEGY!

This strategy is simple. It’s simple to understand and it’s simple to incorporate into your essays. Its beauty is that despite its simplicity, it’ll advance your essay beyond the average English student. All my students who have applied this strategy have seen their English scores improve by at least one grade (from B+ to an A, or from an A to A+).

Let me explain.

PART 1 – CONVERGENT 

The word, ‘convergent’ means coming closer together . When we start looking for similarities in Comparative, keep this word CONVERGENT in mind. Having CONVERGENT at the forefront of your mind will ensure that you are always aware of the fact that your examples are never the same. Notice how the blue arrows never touch:

Sometimes, students fall into the trap of referring to examples in each text as the ‘same,’ but this won’t ever happen to you if you keep CONVERGENT in mind. No two texts are ever exactly the same, no two examples are exactly the same , so avoid falling into this trap. 

Instead, you’ll be using phrases like: "similarly to Text 1, Text 2 also…" or "likewise, in Text 2….’"

Awesome! So this is the simple part done. Let’s move onto the most powerful part of this strategy - DIVERGENT.

PART 2 – DIVERGENT

The word ‘divergent’ means developing in different directions. We can use the CONVERGENT and DIVERGENT strategy for any example you include in your essay. Since no examples from two texts are exactly the same, this means there is always an opportunity for you to first compare the similarities, then compare the differences.

Rather than just a simple ‘on the other hand’ or ‘however’, which you probably have written a dozen times, and felt like you’re repeating yourself, we show you advanced ways to DIVERGE as in this example for Photograph 51 and The Penelopiad:

In The Penelopiad , the resigned way in which Penelope confides in the reader alludes definitively to the ‘overlooked woman’ stereotype being, in fact, a very well-used one. Atwood (the author of The Penelopiad ) does, however, accord some power to Penelope by ensuring that she alone tells her own story, a privilege which is not given to Rosalind in Photograph 51 .

See how in this example, we don’t even use the overused comparative words such as ‘however’ or ‘on the other hand’ which can make a comparative feel simple. Instead, we show you unique ways to compare the two texts so that your essay stands out amongst all the others that are just using the same old words and methods to compare.

If you’ve ever received feedback that you needed to ‘elaborate,’ ‘go into more detail,’ or needed ‘more analysis ’ in your essays, this strategy will help eliminate those criticisms. It will also show your teacher that you are comfortable writing an in-depth analysis using fewer examples (because you’ll be spending more time on each example - firstly by discussing a similarity, then a difference), rather than swamping your essay with as many examples as possible because you barely have anything to say about each one.

Too many students miss out on the opportunity to elaborate or expand on an example because they only write about either the similarity or the difference. But with the CONVERGENT and DIVERGENT strategy, we can see that no matter what example you choose from each text, there is always an opportunity to discuss both similarities and differences . This is an extremely powerful approach to comparative because it enables you to spend time comparing, rather than getting lots of examples of for one text in the first half of your body paragraph, slapping in an ‘on the other hand’ in the middle, then lots of examples for the second text in the second half of the body. I see students doing this all the time, pretending to compare these examples when they’re not - you know what I mean right? We’ve all been there once or twice - so you’re not alone in doing this if you’ve tried in the past. The thing is, with examiners, in particular, they’re really good at noticing when a paragraph looks like it’s a comparison, rather than a truly in-depth comparison between the two texts.

That’s why in my How To Write A Killer Comparative , I show you how to use CONVERGENT and DIVERGENT in multiple essay examples across many text pairs. It’s not just about one way of comparing similarities too, it’s all the different ways to can discuss ‘similarities’ - what I mean is, it can be easy to slip into a template of ‘similarly to text A, text B does this by…’ but in this study guide, written by myself, and study scorers who have achieved 50 in English , we show you how to unique discuss comparisons. We also show you how to advance your comparative discussion through Advanced Essay Paragraph Structures which truly showcase the power of the CONVERGENT and DIVERGENT strategy.

COMPARATIVE GUIDES

How to Write a Killer Comparative Ebook

A Killer Comparative Guide: The Crucible and The Dressmaker

A Killer Comparative Guide: I am Malala and Pride

A Killer Comparative Guide: The 7 Stages of Grieving and The Longest Memory

A Killer Comparative Guide: Ransom and The Queen

USEFUL RESOURCES

The Ultimate Guide To VCE Comparative

‍ Reading and Comparing essays

‍ How to get A+ in Reading and Comparing

Compare the Pair: A guide to Structuring a Reading and Comparing essay

You’ll often find that study guides begin with a section on historical context. Even though it might be tempting to skip over this section, there’s a lot you can take away from understanding the period of time in which your texts are set in. I’ll show you how with examples for both Ransom and The Queen in this video.

Let’s start with a brief overview of why you need to know the historical context. Context, a topic explored in detail in our  How To Write A Killer Text Response , plummets you back to the era of when your texts were set. You effectively ‘step into the shoes’ of the people living in that time, and in doing so, gain a better understanding of their views and values. People’s views and values are often shaped by important events of the time, social culture and norms, and everyday experiences. For example, think about your own context. You’re part of Generation Z, and one defining part of a Gen Z experience is growing up with technology from a young age. Social media is just normality, pretty much everyone has it, uses it as a source of online communication. So how does this shape your views and values? By having access to online information in this way, Gen Zers tend to be more passionate about social issues, because people of this age can leverage social media to voice their opinions or follow those who resonate with them. Only 20 years or so ago, we only had giant media that voiced their own opinions via newspapers or TV. You didn’t have such a wide array of voices from people of different races or experiences. Think about the recent death of George Floyd, and the incredible ripple effect his death had on the world and the power of social media in the Black Lives Matter movement.

So looking at The Queen and Ransom , we want to dive right into their respective eras and understand how people thought and felt during these time periods. This helps us better understand what the messages Frears and Malouf are trying to tell or teach us through their works, enabling you to write better essays. Let’s start with The Queen.

The 1980s to 1990s was a time when the world was  enamoured  by the Princess of Wales (or Diana, as we’ll call her). Her shyness, broken family history, ongoing charitable efforts, and iconic fashion choices made her a royal favourite. She was dubbed the ‘People’s Princess’ not only because of her relatability but also because of her tenuous relationship with the royal family. She’d been wronged by the royal family; first by Prince Charles’ affair with Camilla, then with the lack of support from the Queen when she asked for marriage advice.

At the time, public opinion of the royal family was greatly influenced by tabloid papers - after all, there was no Instagram for the royals to tell their own story. After an estimated 750 million people tuned in to watch Diana’s wedding to Charles, paparazzi began documenting her every move. Princess Diana became the most photographed person in the world, with paparazzi offered up to £500,000 for even grainy pictures of her (that’s equivalent to $1.5 million AUD today!). In the competitive fight to snap the most profitable photos of Diana, the paparazzi invaded her most private moments, taking shots of her kissing Dodi Al Fayed while on holidays, and sunbathing topless at her hotel in Spain. Diana’s despair and requests to be left alone remained unanswered, so when the paparazzi chased her to her death in 1997, the  public response was emphatic .

The public turned against Britain's press and photographers, and the overwhelming outpour of grief is a testament to the injustice the public felt on behalf of Diana. To add insult to injury, the monarchy’s initial reticent response was deemed inadequate, negatively shifting the public’s attitude or ‘mood’ - a term we often hear in the film - towards the royals. The monarchy needs to stay in the public’s favour, lest the end of the institution.

That’s why  The Queen   is a film about change on several fronts,  the first dynamic response from the public, The Queen abandoning royal tradition and acquiescing to public demand, and how all this happens within months of  Tony Blair’s new premiership .

With this, you can understand why change is one of the biggest themes discussed when comparing these two texts. Let’s look at Ransom.

Moving back a further 3000 years earlier than The Queen ,  Ransom is  a retelling the Trojan War, one of the most famous events in Greek mythology. To truly understand random, you must first familiarise yourself with Greek mythology, the Trojan War, and The Iliad. We’ll have a look at these three as if they’re matryoshka dolls (where dolls of decreasing size are place done inside another):

The biggest doll: Greek mythology

We’ll start with  Greek mythology  since it’s the umbrella knowledge you need to know before understanding the Trojan War and  The Iliad . Essentially a collection of stories about gods, heroes and other creatures, Greek mythology was used by ancient Greeks to explain the existence of the world. Without the scientific developments we’ve discovered to date, ancient Greeks attempted to explain the creation of the earth, human behaviour, death and love through their mythical stories. Notice how the gods  (Iris, Hermes)  appear  when  Priam needs help and advice throughout  Ransom. 

The reason why Greek mythology is still prevalent in modern society is that the lessons taught in these stories are still applicable today as they depict universal truths about human qualities such as our strengths and flaws. Without you even realising it, our world today is filled with references to Greek mythology. Take, for example,  Pandora , (the jewellery company that sells little charms you need to buy separately to make up a bracelet), whose namesake comes from the myth about Pandora’s box (basically, Pandora’s unchecked curiosity led her to open a forbidden box, releasing all illnesses and death into the world - side note, could we blame Pandora for COVID-19 then? Just kidding). Or take the first  God of War  game ,  which follows the story of Kratos whose ability to be a loving father is overpowered by his anger and desire for vengeance. Interestingly, the tale of Pandora’s box also is featured in this game.

Luckily for you though, you don’t have to be an expert in  all  Greek mythology, but you should probably have a good gist of the Trojan War.

The middle doll: The Trojan War  

Now we narrow things down to  one  of the most legendary Greek myths - the Trojan War.  This war might be familiar to you because it is the backdrop and context for Malouf’s  Ransom . 

The myth begins with  Zeus , the father of all gods, and his brother  Poseidon  lusting after the goddess of water,  Thetis . However, they are warned by  Prometheus , an intelligent mortal - better known for being chained to a rock as a result of stealing Zeus’ fire - that Thetis would give birth to a son who would be mightier than his father. Alarmed at this possibility, the two gods arrange for Thetis to marry Peleus, a mortal. Since humans were believed to be inferior to gods, this ensured that Thetis’ child would be a mere mortal, rendering the prophecy redundant.

Any potential issues appeared resolved until the gods omitted  Eris , the  goddess of discord  from Thetis and Peleus’ wedding invitation list. Furious at this insult, Eris arrives at the wedding with her own plans. She inscribes a golden apple with the words, ‘To The Fairest’ and throws it amongst the guests. Naturally, all goddesses want to claim the prize. Eventually, the choice is narrowed down to three of the most beautiful goddesses:  Aphrodite ,  Athena  and  Hera . Unable to reach a decision, they turned to Zeus to judge who should win the title. However, Zeus refuses to do so and instead, elects a mortal with good judgment of beauty to make the choice. This mortal is  Paris, Prince of Troy  and whose birth produced a prophecy that he would one day bring misfortune to his people and town.

The three goddesses approach Paris with not only their beauty but also bribes. Hera offers him power and control over Europe and Asia, Athena promises that she will make him a great warrior while Aphrodite proposes to him the most beautiful woman on earth. Since Paris is more interested in women than power and war, he awards Aphrodite with the golden apple. With this exchange sealed, the beginning of Troy’s troubles begin as the most beautiful woman on earth, Helen is already married to Menelaus, king of Sparta.

After a diplomatic mission to Sparta, Paris elopes with Helen, who falls in love with Paris upon their first encounter (literature concerning this part of the story remains ambiguous). Upon discovering Paris’ betrayal, Menelaus calls on Helen’s many suitors to invade Troy and retrieve his wife. His brother,  Agamemnon  recruits and leads the Greek army into battle against the city of Troy, and thus begins the Trojan War.

And finally, the baby doll: The Iliad

Homer’s  The Iliad  is a poem that begins ten years into the Trojan War. By now, Thetis, the goddess who had married Peleus, has given birth to their mortal son  Achilles , the mightiest of all Greeks, as predicted by the prophecy (Achilles should definitely be familiar to you because he’s the main character in Ransom !). Although he is a fighter for Agamemnon, their relationship is strained after Agamemnon demands that Achilles give up his beloved war prize,  Briseis . Since Agamemnon desires Briseis for himself, this enrages Achilles to the point where he refuses to fight in the Trojan War. This leads to dire consequences for the Greeks as they lose many men in battle and are forced to retreat to their ships after the Trojans successfully turn the tide of the battle.

Concerned for his Myrmidons (a group of the strongest and skilled warriors who fight for Achilles) yet too proud to budge from his position, Achilles is persuaded to allow his close friend and comrade Patroclus, to wear Achilles’ renowned armour and lead his Myrmidons into battle (ah, we’re starting to see even stronger connections to  Ransom  now). This strategy is designed to rouse fear in the Trojans and cause them to temporarily retreat - enough time to allow the Greeks to rest and recover - as they’d see ‘Achilles’ back in battle.

Despite Patroclus’ skills as a soldier, Achilles insists that Patroclus only fight until the Greeks can successfully fend off the Trojans away from their ships. During the fight, however, Patroclus disobeys Achilles’ orders and continues to pursue the Trojans back to their gates. At this point, he encounters and is killed by Hector, the prince of Troy and leader of the Trojan army.

Fuelled with rage and grief over Patroclus’ death, Achilles agrees to fight once again for the Greek army, much to Agamemnon’s pleasure. In their next battle, Achilles kills many warriors and the Trojans are forced to retreat back to the safety of their walls. Hector, against the will of his family, faces Achilles alone outside the walls of his home, knowing that Achilles is on a path to avenge Patroclus’s death. In a fierce battle between the two greatest Trojan war warriors, Hector was killed. Achilles takes Hector’s body with him and dishonours it day after day by chaining it to a chariot and dragging it along the walls of Troy. Malouf begins the  Ransom  story here. The gods agree that this blasphemous behaviour cannot continue and send the god Hermes to guide king Priam, father of Hector to the Greek camp. Once in their camp, Priam falls to his knees and pleads Achilles for the body of his son. Touched by the king’s words, Achilles relents, allowing Priam to finally hold a proper burial for Hector.

Appreciating the differences between  The Iliad  and Ransom storyline will lead to a better understanding of the themes and symbols in  Ransom .

One of the main differences between the two texts is their depiction of  Priam’s  journey to  Achilles . In  The Iliad , this journey is explored only momentarily and focuses more on the presence of Hermes. The inclusion of the new character  Somax  in Ransom also offers a new perspective on this old tale. While  The Iliad  only touches upon Achilles’ and Priam’s suffering, Malouf delves into the emotional journey that the characters undergo during the darkest episode in the Trojan War.

That’s why the themes of  grief ,  loss  and  death  should be quite prominent in your comparison between  Ransom  and  The Queen  along with the importance of  stories  and storytelling.

In my new study guide  Ransom and The Queen , I show you how you can use your knowledge you’ve learned there to write A+ essays. Take a look at our study guide below!

Additional resources for Ransom and The Queen

[Video] Ransom and The Queen (Themes, Film Techniques, Literary Devices)

Ransom Study Guide

[Video] Ransom Themes (Revenge, Grief, Forgiveness and Essay Topics)

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

1. Introductions

The events of The Crucible begin with a group of young girls from Salem being discovered dancing and playing at witchcraft with Tituba, the slave of the town’s religious leader Reverend Parris. When his daughter Betty falls ill as a result, they and others seek to deflect blame away from themselves and simultaneously exact revenge against those they feel have wronged them. To do this, they are led by Parris’ niece Abigail Williams to begin a spree of accusations of witchcraft which result in the hangings of many of the other townspeople, including John Proctor, with whom Abigail once had an affair. For a full detailed guide on The Crucible as a solo text, head over to our The Crucible Study Guide .

Plague strikes a small, isolated Derbyshire village called Eyam in 1666 when it is brought there by a tailor carrying a bolt of infected cloth from London. The village’s population is decimated as a result, and in the resulting Year of Wonders shows her burgeoning strength as a healer and ultimately her escape at the conclusion of the novel to a new life.

3. Character analysis

The crucible.

Year of Wonders

4. Sample paragraphs

Prompt: How do The Crucible and Year of Wonders explore the role of Christianity in their respective communities?

If you are looking for sample essay topics to use for your study, check out our The Crucible and Year of Wonders Prompts .

Introduction

In both The Crucible and Year of Wonders , the Christian faith is a central tenet of the lives of all characters, as both texts tell the story of strongly religious communities. It also acts as a strong driver of the conflict which occurs in both cases, but in quite distinct ways, and propels the action and development of many characters.

Body paragraph

While it is not the root of the troubles that develop throughout the courses of the texts, religion and the need to adhere to a belief system are central to their propagation and ultimate resolution. In Year of Wonders , the cause of the plague is as simple as the arrival of a disease carrier in Eyam, but is framed as a ‘trial’ sent by God for the villagers to face. Likewise the scourge of accusations of witchcraft that befalls Salem is simply a result of people straying outside the bounds of good behaviour dictated by their community, but is instead seen as an outbreak of witchcraft and consorting with Satan. As such religion becomes the lens through which both crises are viewed, and is used to try to explain and resolve them. Before the advent of more modern scientific practices, one of the only ways that inexplicable events such as outbreaks of infectious disease or mass hysteria could be understood and tamed was to paint them as either benign or malignant spiritual acts. This allowed people to lay the blame not at their own doors, but at that of something beyond them; for the people of Eyam, something which in truth was a chance epidemiologic event could be seen as ‘an opportunity that He offers to very few upon this Earth’. Because in both Eyam and Salem faith was already a familiar, stalwart part of everyday life, framing their respective disasters as acts of God or the Devil took away some of their fear, as they chose to see a terrible thing as part of something they had known since infancy.

Religion is far more than part of the everyday life and prayer of the common people of Year of Wonders and The Crucible ; it is the foundation of their moral code and their way of explaining events which are frightening and make no sense. It also acts as a driving force within individuals as well as communities, deciding one way or another their actions and ultimately their characters.

Both texts are rich narratives on their own, but they are also strongly grounded in historical events that you may not have studied in great depth and which significantly influence the plot and characters’ actions – this is especially relevant when discussing the religion portrayed in the texts. You may miss many of the authors’ intended messages if you’re not aware of the full context of the books. Here are some ideas in this area that you might want to research:

The Crucible also has a very interesting place in modern history as Arthur Miller’s comment on the rampant McCarthyism of 1950s America. Do some research on Miller’s life and views (the introduction or foreword of your novel might have some useful hints).

Also note that The Crucible is a play whereas Year of Wonders is a novel; how does each format uphold or reveal the author’s thoughts and ideas? How does the format of the text affect its other features (narrative, characters, voice etc.)?

Updated 26/12/2020

It’s that time of year again when many VCE English students start brainstorming their Oral Presentation SACs. To help you out, we’ve collated some of the biggest names and issues in the recent Australian media.

Each heading represents a broad, ongoing issue, and under it are more specific debates within each issue. Going down a more precise route with your topic selection can make your speech a lot more engaging and current, so pick a broad issue that speaks to you, and ‘zoom in’ on a debate for your speech. Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.

CLIMATE CHANGE

1. green new deal.

Originally, the 'New Deal' was a bunch of economic reforms that restimulated the economy back into action after the Great Depression. The ' Green New Deal' is a bunch of policies that combines this economic approach with the need to fight the climate crisis. It was first brought before the United States Congress by Alexandria Ocasio-Cortez in late 2018 , but was ultimately voted down. It called for a 10-year transformation of the economy to provide green jobs; transition to renewable, zero-emission energy sources; and eliminate pollution across sectors such as manufacturing, agriculture and transport. Is this something that we need to adopt in Australia? Is now the best time for that conversation, given the political climate (not to mention the actual climate of the worst bushfire season in history)? And what exactly are the options? Australia Needs a Green New Deal (03/11/2019) What could an Australian green new deal look like? (28/11/2019) Why the Green New Deal matters (29/11/2019) Let’s make the 2020s the decade that Australia gets its mojo back (04/01/2020)

2. Young People on Strike

2019 saw the emergence of the ' school strike for climate' , an international movement of students skipping school to demonstrate and demand action on climate change. It took off after Greta Thunberg, a Swedish schoolgirl, began protesting outside the Swedish parliament in late 2018. It sparked widespread discussion on young people, education and the merits of striking. Scott Morrison was drawn into the discussion, stating that he doesn’t 'want our children to have anxieties about these issues', while defending his government’s track record on renewable energy investment. So - should young people be worrying about these issues at all? Are they missing out on crucial years of education by taking to the streets? And, is what they’re saying really unreasonable at all? Global climate strike sees ‘hundreds of thousands’ of Australians rally (video, 0/09/2019) The climate strike organiser who received a near-perfect ATAR (18/12/2019) How Greta Thunberg’s school strike went global: a lo ok back (podcast, 30/12/2019)

3. To Prime Minister or Not To Prime Minister

Australia is already facing its most severe bushfire season yet with several months of fire season left to go. During these months, Scott Morrison took a holiday in Hawaii, staying there even after stating his intention to return . Even as he returned, he was shunned for perceived insensitivity and insincerity . What should a Prime Minister do in a state of national emergency? While Morrison delegated many of the duties to state premiers, are these distinctions important in times of crisis? Is he the leader we deserve after his resounding, miraculous election victory in 2019? Where to from here? ScoMo, Where the Bloody Hell Are You? (20/12/2019) Don’t dismiss our anger in Cobargo Scott Morrison, we are the ones living through a crisis (02/01/2020) Scott Morrison, Australia’s singed prime minister (03/01/2020) ‘Bloodcurdling insanity’: Real reason ScoMo is under fire (04/01/2020)

4. Emissions Trading Scheme (ETS)

An ETS basically makes carbon gas emissions an economic good that gets bought and sold like any other - corporations that emit more gas will need to now purchase permission to emit, while corporations that emit less will be able to sell their permits. The debate for an ETS in Australia is old (surprisingly perhaps, John Howard first broached the idea towards the end of his Prime Ministership ), but became political poison after Julia Gillard introduced it despite promising that her government wouldn’t introduce a carbon tax in the 2010 election. It has since been scrapped, making Australia the only government in the world to ever dismantle an operational ETS. A decade later, is it now the right time to revisit this discussion? Just why are so many people opposed to policy that would stop corporations from emitting for free? And what does this mean for our international reputation and commitments? One of the world’s biggest emitters is trying to fly under the radar at Cop25 (06/12/2019) For 10 Years, Australia Has Been In A Climate-Policy Abyss (07/12/2019) ‘Not moving fast enough’: former head of Scott Morrison’s department criticises climate change policies (18/12/2019)

SOCIAL EQUITY

1. homophobia in sport.

So this is nothing particularly new, but it’s unfortunately still present even as we move into 2020. Should sports stars be penalised for their opinions when they’re exclusionary and harmful, or should we respect them for their sporting prowess? Maybe this speaks more broadly to the standards we expect sporting stars or public figures in general to set as role models… Israel Folau: Australian rugby star condemned for linking bushfires to ‘sinful’ homosexuality (18/11/2019) Marcus Stoinis fined $7,500 for homophobic slur during Big Bash League (04/01/2020)

Bear with me on this one - while she isn’t specifically a ‘social equity’ debate, Lizzo’s emergence as a breakout singer of 2019 intersects with a lot of social equity movements, from body positivity and feminism to racial justice and self-empowerment. Her upcoming shows in Australia sold out in minutes, which speaks to her newfound popularity as a global star. What is it about Lizzo that resonates with so many people? What and who does she represent? Is the new decade also a watershed moment for diversity in entertainment? Lizzo taps into the real meaning of freedom in 2019 (07/10/2019) Lizzo, pop’s reigning phenomenon, brings her juice to Australia (05/01/2020)

3. Gender Wage Gap in Sport

Again, this one isn’t too new, but a fresh wave of activism for equal pay in sport was sparked this year by Megan Rapinoe, the captain of the US women’s national soccer team (which won the World Cup in 2019). She, her team and the men’s team sued the national soccer federation for gender discrimination and other countries, Australia included, followed suit. Why does the wage gap exist and what are the reasons for closing it? Is a preference for the men’s game enough to justify paying women less (despite the fact that preferences like this are usually rooted in misogyny and are subjective anyway)? And how does this translate between different sports such as soccer, AFLW and tennis (where Serena Williams and Novak Djokovic have clashed over this before)? AFLW pay dispute is over (28/10/2019) Matildas become first women’s team in world football to be paid the same as men’s team (video, 05/11/2019) Australia’s women footballers get equal pay in landmark deal (06/11/2019) ‘We Have To Be Better’: Megan Rapinoe and the Year of Victory and Advocacy (18/12/2019)

4. Newstart

Newstart is Australia’s income support for those aged 22 to 64 who are unemployed. Though a form of social security, it’s fallen behind in terms of how much economic security it can provide recently, with years of no real increases (that is, increases which offset inflation - basically things are getting more expensive and even if Newstart increases, it doesn’t give you more purchasing power in reality). Is it finally time to increase Newstart? There was some discussion around the holiday season being particularly expensive, but should an increase be permanent? How hard is it to get a job in today’s economy? And are the payments enough to live on if you can’t find a job? Morrison government defends Newstart amid criticism it is among low est welfare payments in OECD (08/10/2019) Report highlights social crisis confronting Australian youth on welfare (14/12/2019) Survey finds two-thirds of Australians back a Newstart Christmas boost (22/12/2019) The economic case for increasing Newstart (01/01/2020)

5. First Nations Justice

'Voice' was the Australian National Dictionary Centre’s word of the year in 2019 , in the context of Indigenous representation in the Australian parliament. A Voice to Parliament would enshrine Indigenous input into laws and policies on issues affecting First Nations communities, and has been called for by activists for some time now. How does this tie into/is this distinct from other issues such as constitutional recognition? Why haven’t we seen a lot of progress or consensus on these issues? And what might it mean for those communities to be able to make autonomous decisions? There’s a 60,000-Year-Old Way to Help Stop Australia Burning (16/12/2019) ‘I feel unchained’: Mauboy adds her voice to Indigenous recognition campaign (29/12/2019) The Voice to Parliament isn’t a new idea – Indigenous activists called for it nearly a century ago (02/01/2020) ‘It can be more controversial’: Costello warns on constitutional recognition for Indigenous Australians (02/01/2020)

1. Teaching as a Decreasingly Popular Profession

Australian teachers have been struggling with increasingly difficult jobs and flat-lining pay in recent years, and teachers’ unions haven’t been able to successfully find a solution to offset these concerns. Tertiary students are now turning away from pursuing a career in education , and there could be many reasons as to why. What does this mean for the future of Australian education? In what ways do you as a student feel the impacts? And what could be some solutions - perhaps both from a teacher’s point of view, but also from a student-centric viewpoint? Three charts on teachers’ pay in Australia: it starts out OK, but goes downhill pretty quickly (02/09/2019) The epic failure at the root of Australia’s maths problem (06/12/2019) Why male teachers are disappearing from Australian sc hools (12/12/2019) A new voice for class teachers (30/12/2019)

2. Australia Falling Behind

Unfortunately, Australian students have been falling behind many of their global counterparts in terms of educational outcomes - we even hit our worst ever results in the OECD’s international student assessment in 2018. What does this mean in an increasingly globalised world and is there a way to turn this around? How might a student perspective on this be unique from that of a politician for example, or another stakeholder? And is education an isolated issue, or should we be looking at more holistic solutions that incorporate health-related, economic and/or social solutions as well? Murri School students experience social and emotional benefits from six-day nature camp (13/10/2019 - a bit of a reach, but an interesting read about education outside of the traditional classroom) No need to panic – we can fix Australian schools. But to rush the reform is to ruin it (08/12/2019) Coalition to review Australian education curriculum in bid to reverse fall in student results (11/12/2019) Aboriginal English recognition in schools critical for improving student outcomes for Indigenous Australians (21/12/2019) We love to criticise the United States, but guess what? Their public schools are better than ours (04/01/2019)

This is another one of those long-running debates, though it’s on the table again as the ACT has recently legalised recreational cannabis . This goes against federal law, which still bans the possession and use of weed, and makes Canberra the first Australian jurisdiction to decriminalise it. Canberra has also led the way on issues such as same-sex marriage, legalising it as early as 2013 (four years before the rest of the nation would follow suit). Discussion about other drugs such as ecstasy has also been raised as a result, and this piece might be an interesting read on why different drugs have different legal statuses. Still, is legalising pot the way to go considering how other Western democracies are already moving in this direction? Is it even a harmful drug at all? And what about the others, such as ecstasy? Or even alcohol, for that matter? Nation’s capital legalises cannabis for personal use (25/09/2019) Peter Dutton: government may overturn ‘dangerous’ ACT decision to legalise cannabis (25/09/2019) Australia could be the first country to legalise ecstasy – are we going too far? (03/10/2019) Canberra women with endometriosis are self-medicating with cannabis, but legalising the drug might not help (28/12/2019)

2. Climate Grief

This is an interesting and pretty recent phenomenon - climate grief or climate burnout are new terms that have come into existence to describe the mental health impacts of the climate crisis. In particular, they describe the frustration and despair that people may feel as a result, given that progress on reducing carbon emissions is frighteningly slow and natural disasters are becoming more frequent and devastating at the same time. What is your take on it and who’s feeling it? Do you have to be affected by disasters, or can it also affect young people who feel pessimistic about the future of the planet? And what could be some strategies for overcoming it? What is the importance of seeing climate through a health lens and how might it inspire activism or change? Australian Farmers Muddled in Mental Health Crisis (26/09/2019 - a good read on how climate issues intersect with economic issues as well) Australian town breaks record for mental health awareness following devastating flood (16/12/2019) Australian bushfires could lead to a mental health crisis, expert warns (03/01/2020)

3. Mental Health

2019 saw some other new developments in the conversation around mental health in Australia. A report found that mental health concerns are getting more widespread among young people, while government investment doesn’t really seem to be effective. Meanwhile, we’re also seeing progress on destigmatising mental health issues within sport - overseas, athletes such as Paul Merson and Stan Collymore have shared stories of their battles, while Cricket Australia looks into ways of creating more supportive environments for their players. How can we streamline the message around mental health, or the relevant support networks? What solutions haven’t we tried yet, and how might the discussion around this shift in the next decade? What are the implications if we don’t address these issues? Note that this can be a sensitive issue which may cause distress to some people. Mental health issues increasing among Austra lians (30/09/2019) Push to get wellbeing counsellors into schools as mental health bill costs Australia billions (31/10/2019) What’s driving poor mental health among young Australians? We asked them (20/11/2019) Kevin Roberts: Cricket Australia committed to better understanding menta l health (14/12/2019) People with mental illness less likely to get cancer screening (03/01/2020)

4. Abortions in NSW

NSW recently legalised abortions for pregnancies shorter than 22 weeks after one of the longest debates in their state Upper House. While the choice versus life debate has raged around the world for decades now (i.e. maybe don’t do a pro-choice speech that people will have heard before, and probably don’t do a pro-life speech in 2020), what is the landscape of the debate like in our day and age? Who opposes it and why? What is the problem with making health issues criminal issues instead (e.g. drug policy as well)? And what other issues might be linked to this? Can someone who is pro-life also support tougher border restrictions that lead to refugee deaths at sea, for example? Note that this can be a sensitive issue which may cause distress to some people. Why NSW is still fighting about abortion (17/09/2019) Controversial abortion bill passes NSW Upper House after long-haul debate (25/09/2019) Abortion Is Now Legal in NSW After Controversial Bill Passes Lower House (26/09/2019) NSW abortion law: doctors say last-minute changes ‘unnecessary’ but manageable (26/09/2019)

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How can we write about a film in a way that shows our knowledge of its complexity in the way it conveys ideas through visuals and sound?  

While this blog post focuses on the construction of Invictus , the concepts around analysing film and writing about it apply to all other Year 11 and 12 multimodal texts. If you are studying Ransom with Invictus for the Comparative component of VCE English, you may also find out Ransom and Invictus study guide helpful.

What contrasts Invictus from Ransom , is, of course, that we can see Clint Eastwood’s depictions of post-Apartheid South Africa through his visualisations of, for instance, characters emotions and behaviours, by the formation of cinematic techniques. We can see the divided community in which the narrative is set; involving the rift between Afrikaners and black South Africans.  The added challenge of writing about a multimodal text such as Invictus , is that its composition through these film techniques should be integrated as textual evidence in a cohesive and effective way.  

Some key study design points:

• ‍ “The features of written, spoken and multimodal texts used by authors to convey ideas, issues and themes.”
• “The ways in which different texts provide different perspectives on ideas, issues and themes and how comparing them can offer an enriched understanding of the ideas, issues and themes.”
• “Use textual evidence appropriately to support comparative analysis.”

A good way to approach analysis of textual evidence is through looking at quotes.  However, to further show our understanding of the text is perhaps to discuss the context of these quotes; examining what the director is showing us along with this dialogue.  What are the expressions portrayed by the characters? What does the framing reveal to us about the characters, symbols or the setting? What is Eastwood wanting us to understand about the narrative through the combination of these techniques? By asking these questions we can try to grasp what the intentions of the director are.

Some key film techniques to think about may be camera framings/angles, acting, lighting, editing, mise en scène, symbols, etc. (see terminology at the end of this blog).

Analysing a frame

A useful idea might be to go through the film multiple times, pause at certain moments and note what you can both see and hear. Turn on the subtitles to help decipher the dialogue – note these quotes down.  It may also be worthwhile to read through the actual script to Invictus ; from this we can learn of the intentions of Eastwood from a different perspective – in what he wanted to show his audience in each scene.

For example: ‍

INT. SPRINGBOK DRESSING ROOM - DAY                        

         The sound of cleats approaching on concrete. Exhausted

         footsteps. The DRESSING ROOM ATTENDANT PUTS CASES OF BEER

         (cans) on a side table, rips them open, backs away --

         -- as the Springboks enter silently, faces miserable,

         shoulders slumped. They've lost another game.

What is the setting? What can we see happening in this setting? Who is there? What are the behaviours and expressions of the characters? What does the type of camerawork tell us? What does the lighting and colour tell us? These might be some questions to consider.

MANDELA ENTERS LOFTUS VERSFELD STADIUM AS NEW PRESIDENT

In this scene, Eastwood utilises wide, high angle framing to represent the enormity of the stadium; filled with Afrikaners who, predominantly, detest the new President.  Still, even as the framing is constantly filled with these Springboks sports fans, the director shows us the smiling, confident Mandela, who warmly waves to his new ‘partners in democracy’ without fear or distaste.  We can see this as the camera draws in on Mandela’s facial expressions.  Moreover, the courage of Mandela is exhibited as he exits the stadium and a sports fan hurls a drink at him.  Even despite that he ‘sees everything’, Mandela continues to wave and smile at the crowd.  

MANDELA ENTERS ELLIS PARK STADIUM FOR WORLD CUP FINAL

On the other hand, this scene, whilst it continues to demonstrate the steadfast, affable nature of Mandela, shows the unification of South Africa.  Through Mandela’s support of the Springboks by wearing the green and gold, we can understand that the Springboks have subsided from once being a ‘prominent symbol of the apartheid era’.  By contrast to his first appearance, Mandela is now upheld as a leader to all; there is no jeering or booing, but lively backing of both the Boks and The President.  Mandela has fundamentally transformed the team who once brought ‘shame upon our nation’ into something to be proud of and excited for.

The camera pans around the stadium depicting cheering and applauding fans, who are even carrying the new South African flag.  Even more interestingly, the black South Africans who widely scorned the Springboks, are now watching the rugby final in support of their team; their country.

‍JASON AND HIS TEAM MEET THE NEW BODYGUARDS

Eastwood utilises tight, close-up framing in this scene as to allude to the confrontation between black and white South Africans.  By this, the director draws us in to the agitated, bemused expressions on Jason and Linga, who immediately clash with the new SAS bodyguards they must partner with.  Jason stresses the personal bond between his team and the President – ‘[Madiba] that’s what we call him’.  This immediately shows the distaste that the black South Africans have towards their ‘enemies’, the Afrikaners.

Madiba implores that ‘reconciliation starts here’ and ‘forgiveness starts here’; Mandela assembles this new team of bodyguards because they are his representatives and ambassadors.  He wants the ‘rainbow nation’ to start here.

Writing an analysis

Once we understand what’s happening in some important scenes, we can think about how this understanding can be implemented into pieces of writing.

Consider the quotes: ‘Pienaar’s team’, ‘shame upon our nation’, ‘somebody gets the axe’ and ‘tails between their legs’.  This is what TV host, Boland Botha, and the rugby president, say after the Boks perform poorly in their rugby match.  Accompanying this scene are close-ups of Francois Pienaar, who is made to be the blame for the momentous loss.  

We could approach an analysis of this by embedding quotes amongst a discussion of the cinematic techniques; explaining what we learn about the character of Pienaar through these.  By including both quotes and some context in the cinematic construction, it displays a clear knowledge and understanding.

For instance, we could write:

“Eastwood demonstrates Pienaar as a prominent leader in the Springbok team.  He is made out to be responsible for ‘[his] team’s’ dismal performance.  Tight, close-up framing shows the audience a defeated Pienaar, a captain and leader who has brought ‘shame upon’ the South African nation, and as the rugby president suggests, deserves to ‘get the axe’.  The harsh, low-key lighting of the frame draws in on the raked and bruised Pienaar, who is isolated as the key to the Boks having ‘their tails between their legs’ throughout the game.”

Have a go at analysing the film and finding a way to balance embedded quotes with examples of the director’s techniques.

All in all, while it is not crucial to talk about specific production techniques as such, it can help give you an edge in demonstrating that you know the ins and outs of the text.  It helps show your comprehension of the context, themes and ideas presented, which is key to exemplifying a capacity to perceive authorial intent.  

Some useful terminology

Camera shots/techniques:

• Shots: extreme long shot/long shot, medium shot, close-up shot/extreme close-up
• Establishing shots: first shot of a new scene, shows the audience where the scene is taking place.
• Depth of field: distance between closest and furthest objects giving a focused image. 

Camera angles:

• Bird’s-eye view, low angle, eye-level, high angle
• Skewed angle: camera set on an angle (horizon line is not parallel with the bottom of the frame)

Camera movements:  

• Zooming, panning/tilting, tracking, hand-held

Mise en Scene: the arrangement of a frame; the artistic look of a shot in its elements of lighting, colour, camera techniques, sets, costumes, etc.

Lighting: high-key (bright, low shadow and contrast) or low-key (underlit, strong contrast between light and dark)

Point-of-view: the perspective from which the text is portrayed; the audience are driven to identify with characters portrayed.

Opening/resolution: how a narrative is introduced in setting up characters, settings, etc., how these develop and resolve at the end of a text.

Motif: a distinguishable feature which portrays a theme and idea about a character, setting, etc. ‍

For more information on film techniques, watch this video:

For a detailed list of film techniques, learn more here .

‍ Station Eleven 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 .

Breaking Down a Station Eleven Essay Prompt

We've explored themes, characters, symbols and provided a summary of the text over on our Station Eleven by Emily St John Mandel blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

Here, we’ll be breaking down a Station Eleven essay topic using LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, you can learn about it in our How To Write A Killer Text Response study guide.

Without further ado, let’s get into it!

The Prompt: ' The distortion of memories can be harmful.' Do you agree?

The first thing to note about this prompt is that it's a theme-based prompt, focussing specifically on the theme of memory, which plays a significant role throughout the novel! But more specifically, it's asking directly about the impacts distorted (i.e. misrepresentative/twisted/warped) memories have on individuals, and whether this is harmful or not. So ultimately, you have to look at which memories are distorted throughout the novel, and evaluate whether this process is ultimately helpful to the characters or not.

Not sure what we mean by ‘theme-based prompt’? Then, you’ll want to learn more about the 5 types of essay prompts here .

‍ Step 2: Brainstorm

• Many characters' memories are altered significantly from what actually occurred - this is especially relevant for the characters living after the pandemic, as memories naturally distort over a 20-year period
• The two main characters we see whose memories are altered the most are Tyler and Kirsten - both of whom were children during the collapse of civilisation
• For Tyler, his recollections of the past are all dominated by violence and this has a significant impact on his worldview. One could very easily argue that it is this distorted view of reality that ultimately leads to the formation of his cult and the subsequent harm he inflicts
• Thus, in the case of Tyler, it is quite clear that the distortion of memories has been quite harmful
• However, on the other hand, Kirsten has had to commit unspeakable acts, (as implied by her being unable to remember her past/childhood), but this is seen as a coping mechanism, allowing her to move forward in life
• Thus, for Kirsten, the manipulation of her memories through her forgetting is ultimately rather positive!
• Memory distortion doesn't just relate to these two characters - it also affects Clark quite severely
• He is shown to be quite unhappy in the pre-apocalyptic world, which is a stark contrast to his fulfilment by the end of the novel. What causes this?
• This can be attributed to his distortion of memories which allows him to view the old world in a far more positive manner, with significant nostalgia
• Thus, like Kirsten, Clark's distortion of memories is also presented as largely beneficial
• So ultimately, while there are downsides to manipulating one's memories (Tyler), Mandel shows that distorting memories is largely a positive coping mechanism for many characters!

From my brainstorming, I'll be approaching the essay with the following contention: 

Distorting memories can be harmful but more often is beneficial.

Now it's time to work out our paragraph ideas.

P1: Tyler's distortion of memories is largely detrimental and therefore harmful because they are tainted with violence and thus exacerbate his suffering.

P2: However, Kirsten uses this as a coping mechanism, enabling her to move forward from the trauma associated with the collapse of society and therefore the distortion of memories is necessary in her case.

P3: Further, Clark's rose-tinted view of the past world allows him to come to terms with the collapse of society and again is beneficial.

While Emily St. John Mandel's post-apocalyptic novel Station Eleven illustrates the harm which can be associated with the distortion of memories, it ultimately expounds on the benefits which can be garnered by those who alter their perceptions of reality given how this can serve as an invaluable coping mechanism to process trauma. The non-linear structure of her novel, achieved through the interweaving of pre- and post-lapsarian scenes (1) , allows her to sculpt parallels between her characters who are able to accurately recall both the positives and the negatives of the 'modern world'. She thus advocates that whilst the distortion of memories can perpetuate and enable violence, it can alternatively result in tangible benefits when utilised in a positive manner, thus exposing Mandel's credence in how this can actually serve to benefit individuals and entire communities as a whole.

Annotations (1) It is really useful to show an understanding of how the novel has been constructed and why - so through Station Eleven not following a traditional model of time, this allows Mandel to really contrast between her characters - namely Kirsten and Tyler.

Mandel expounds (2) how the distortion of memories can ultimately exacerbate the suffering experienced by vast sectors of the community, arguing that it is this which actively perpetuates harm due to the inability of humans to adequately process trauma, particularly trauma which stems from one's childhood given the loss of innocence which accompanies this. Indeed, Tyler, who was characterised as a young boy during the 'neutron bomb' of the Georgia Flu and the subsequent destruction of civilisation 'had the misfortune of remembering everything', ultimately resulting in dire consequences for the majority of characters who interact with him. Mandel condemns Tyler's innate desire to justify the pandemic, arguing his inability to forget, process and fully comprehend ‘the blood drenched years of the collapse’ drives the creation of his cult which eventually perpetuates great suffering. This ultimately results in significant consequences, thus allowing her to denounce how the distortion of memories (with Tyler's recollections largely being defined by extreme violence and gore) can be extremely harmful. Indeed, 'ruling with a combination of charisma, violence and cherry-picked verses from the Book of Revelations', Tyler damages the overwhelming majority of people he comes into contact with, from having numerous 'child brides' to rendering the town of St. Deborah by the Water 'unsafe' to his cult containing only a few 'true believers', (3) serving as the embodiment of humanity's insatiable lust for power. Through his reciting of only phrases from the Book of Revelations, labelled the most exclusionary and brutal book of the New Testament (4) , Mandel condemns the selectivity of Tyler's beliefs, advocating that his internalisation of only the most harmful and violent phrases exemplifies the lack of benefits associated with violently distorting memories given the inability of humans to process such immense trauma and suffering. Whilst Mandel explains Tyler's actions as stemming from the violence underpinning his childhood, particularly given that he was raised by a 'lunatic' whom others deemed 'unsaveable', she dispels the notion that this excuses them, arguing the degree of hardships inflicted by Tyler himself are unjustifiable, thus further exposing her credence in the necessity of being able to forget harmful memories in order to overcome them. Ultimately, through her portrayal of Tyler's inability to forget his childhood as 'a boy adrift on the road', Mandel reveals the potential for harm to be imposed due to the distortion of memories so that they are marked by violence, arguing that this can indeed be overwhelmingly dangerous.

Annotations (2) It is great to use action words such as 'expounds' instead of the basic 'shows’ as this demonstrates a more in-depth understanding of the author’s views and values (ensuring you meet VCAA Criteria 2: Views and Values ).

(3) When making claims such as that Tyler harms 'the majority of people he comes into contact with', it is great to show multiple examples, so that your claims are properly backed up with appropriate evidence!

(4) This is a really great point to draw out that other students may not consider - Tyler never references any other components of the New Testament and only focuses on the most violent sections of one particular book.

However, Mandel also displays a belief in the positives which can be gleaned by those who inherently distort their memories as a mechanism to process traumatic times in their lives, arguing this can provoke significant, tangible benefits. Conveyed through the non-linear structure of her novel, Mandel sculpts parallels between Tyler and Kristen given their similar ages and respective connections to protagonist Arthur through him serving as their father and father figure respectively, with the significant difference being that only the latter was able to forget 'the year [she] spent on the road…the worst of it' (5) . As such, only Kirsten is able to adequately move on from this extremely traumatic period in her life, exemplifying Mandel's credence in how the distortion of memories can truly serve as an invaluable coping mechanism allowing individuals to overcome significant harm, with Kirsten experiencing a large degree of post-lapsarian fulfilment given her 'friendships' with her fellow members of the Travelling Symphony, her 'only home'. Despite Kirsten's past being underpinned by significant violence, with her having three 'knife tattoos' to commemorate those she has had to kill in order to survive, her continued ability to adapt her memories into less traumatic ones is applauded, with her murders having been portrayed as occurring 'slowly…sound drained from the earth' as a way for her to process 'these men [which she] will carry with [her] for the rest of [her] life', thereby exposing Mandel's credence in the necessity of being able to overcome trauma through distorting memories. As such, she ironically went on to perform Romeo and Juliet following one such event which, given Mandel's depiction of the unparalleled significance of artistic forms of expressionism facilitating human wellbeing as Kirsten 'never feels more alive' than when she performs, exposes Mandel's illumination of how altering false realities (6) can ultimately provoke tangible benefits given Kirsten's ability to simply move on despite the traumatising nature of the truth. Ultimately, through the juxtaposition between Tyler and Kirstens' distortion (7) of memories, Mandel expounds how distorting memories can wield both consequences and benefits, with the latter occurring when employed subconsciously by individuals to process harmful memories.

Annotations (5) It is quite sophisticated to go back to the construction of the novel throughout the essay (as opposed to just briefly mentioning it in the introduction!). This shows you truly understand why the author structured the novel the way she did, which in this case is to highlight the similarities and differences between Kristen and Tyler.

(6) Try to avoid repeating 'distortion of memories' every single time - it is great to use synonyms such as 'false realities', but make sure you're using the right words (see annotation 2 for more information).

(7) Note how this links back to paragraph 1 (given that these two points are so similar and go off of one another) which makes the essay flow better. We are showing that our argument is well-structured and follows logical patterns.

Furthermore, Mandel similarly explores the benefits of utilising the distortion of memories as a coping mechanism and how, especially when this is done through the lens of nostalgia, it can facilitate unprecedented satisfaction. Indeed, Clark is depicted to be the literal embodiment of post-lapsarian fulfilment (8) given his ability to, albeit through rose-tinted glasses, appreciate the 'taken-for-granted miracles' of the 'former world' through his position as the 'Curator' at the 'Museum of Civilisation'. Subsequently, he serves to expose Mandel's belief in the benefits of altering one's recollections in an overwhelmingly positive manner. As such, Clark 'spend[s] more time in the past…letting his memories overtake him' as he maintains integral cultural artefacts which 'had no practical use but that people wanted to preserve'. This ultimately eventuates into a significant degree of fulfilment for not only Clark himself, but also the other residents of the Severn City Airport, the children of whom 'like all educated children everywhere….memorise abstractions' of the pre-lapsarian society, with the entire Airport community revelling in the everyday 'beauty' of objects not typically appreciated by the general populace. In doing so Mandel highlights her belief regarding the significance underpinning the benefits which can be gained from those whose memories are distorted to cope with losses in a positive manner, arguing this can enable a substantial increase in wellbeing. This is exacerbated through the juxtaposition in Clark's pre- and post-lapsarian fulfilment, for in the former he is denigrated as merely an unhappy 'minimally present...high functioning sleepwalker' (9) . Overall, through her portrayal of Clark's satisfaction despite his elderly status and the loss of everyone dear to him, Mandel exposes her belief in the value of distorting one's memories in an overwhelmingly positive manner, advocating this can facilitate the forming of one's intrinsic purpose and thus fulfilment.

Annotations (8) You want to show how characters correlate to specific themes, and if one embodies a particular idea, then you should clearly state that! It shows examiners you really know your stuff. See this blog for more about the themes and characters in Station Eleven . 

(9) Again, you want to clearly highlight how Clark is distorting his memories, including by providing evidence to back up your claim.

Ultimately, Emily St. John Mandel’s Station Eleven exemplifies the limitations of the human psyche when affected by trauma, arguing that the distortion of memories can have either a positive or negative impact upon the individual. Whilst she cautions her audience against the dangers of adhering to selective recollections, she simultaneously presents the benefits which can be garnered from this, alongside the ability to liberate oneself from such harmful memories.

For more Station Eleven writing samples, check out this blog post , which compares three different paragraphs and analyses how they improve upon one another.

If you found this essay breakdown helpful, then you might want to check out our Station Eleven Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals!

‍ This blog was updated on 05/10/2020.

2. Characters

4. Literary Devices

5. Important Quotes

6. Sample Essay Topics

7. A+ Essay Topic Breakdown

Pride and Prejudice 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 .

Jane Austen’s 1813 novel, Pride and Prejudice , follows the titular character of Elizabeth Bennet as she and her family navigate love, loyalty and wealth.

When Mrs. Bennet hears that a wealthy, young and eligible bachelor, Mr. Bingley, has moved into the manor of Netherfield Park nearby, she hopes to see one of her daughters marry him. Of the five daughters born to Mr. and Mrs. Bennet, Jane, Elizabeth, Mary, Kitty and Lydia, Jane takes an early liking to Mr. Bingley despite his friend, Mr. Darcy, initial coldness and apathy towards her younger sister Elizabeth. Though Mr. Darcy’s distaste soon grows to attraction and love.

While Jane and Mr. Bingley begin to fall for each other, Elizabeth receives and declines a marriage proposal from her supercilious cousin Mr. Collins, who eventually comes to marry Elizabeth’s dear friend Charlotte. While Mr. Darcy is in residence at Netherfield Park, Elizabeth finds and enjoys the company of a young officer named Mr. Wickham who too has a strong disliking for Mr. Darcy. Mr. Wickham claims it was Mr. Darcy who cheated him out of his fortune, which then deepens Elizabeth's initial ill impression of the arrogant man.

After a ball is held at Netherfield Park, the wealthy family quits the estate, leaving Jane heartbroken. Jane is then invited to London by her Aunt and Uncle Gardiner, which Mr. Darcy fails to tell Mr. Bingley as he has persuaded him not to court Jane because of her lesser status.

When Elizabeth visits her newly married friend Charlotte, she meets Lady Catherine de Bourgh’s (Mr. Darcy’s Aunt) other nephew, Colonel Fitzwilliam. While there, Mr. Darcy appears and proposes to Elizabeth unexpectedly claiming he loves and admires her. To Mr. Darcy’s surprise, Elizabeth refuses as she blames him for ruining Mr. Wickam’s hopes of success and for keeping Jane and Mr. Bingley apart. Mr. Darcy later apologies in a letter and admits to persuading Mr. Bingley not to pursue Jane, but argues that her love for him was not obvious. In the letter, he also denies Wickam’s accusations and explains that Wickham had intended to elope with his sister for her fortune.

Elizabeth joins her Aunt and Uncle in visiting Mr. Darcy’s great estate of Pemberley under the impression he would be absent. It is there that Elizabeth learns from the housekeeper that Mr. Darcy is a generous landlord. Elizabeth and Mr. Darcy then have a chance encounter after he returns home ahead of schedule. Following her previous rejection of him, Mr. Darcy has attempted to reform his character and presents himself amiably to Elizabeth’s Aunt and Uncle as she begins to warm up to him.

Mr Darcy happens upon Elizabeth as she receives the terrible news that Lydia has run off with Wickam in an event that could ruin her family. Mr. Darcy then going out in search for Wickham and Lydia to hurry their nuptials. When Mr. Bingley and Mr. Darcy return to Netherfield Park, Elizabeth is pleased to see him though Darcy shows no sign of his regard for her. Jane and Mr. Bingley soon become engaged.

Soon thereafter, Lady Catherine visits the Bennets and insists that Elizabth never agree to marry her nephew. Darcy hears of Elizabeth's refusal, and when he next comes, he proposes a second time which she accepts, his pride then humbled and her prejudices overturned.

• Elizabeth Bennet
• Mr. Fitzwilliam Darcy
• Jane Bennet
• Mr. Charles Bingley
• Mrs. Bennet
• George Wickham
• Lydia Bennet
• Mr. Collins
• Miss Bingley
• Lady Catherine De Bourgh
• Mr. and Mrs. Gardiner
• Charlotte Lucas
• Georgiana Darcy
• Mary Bennet
• Catherine Bennet

Within the text the theme of pride is ever present as it plays a major role in how Austen’s characters present themselves, their attitudes and how they treat each other. For much of the novel pride blinds both Mr. Darcy and Elizabeth of their true feelings and hence becomes something both characters must overcome. While Darcy’s pride makes him look down upon those not immediately within his social circle, Elizabeth takes so much pride in her ability to judge the character of others that she refuses to amend her opinions even when her initial judgements are proven wrong. Indeed, this is why Elizabeth despises the benign Darcy early on in the text, but initially takes a liking to the mendacious Wickham. By the denouement of the novel, both Datcy and Elizabeth have overcome their pride by encouraging and supporting each others own personal evolution. Indeed, as Darcy sheds his elitism Elizabeth comes to realise the importance of revaluation.

The tendency of others to judge one another based on perceptions, rather than who they are and what they value becomes a point of prolific discussion within Pride and Prejudice . Indeed, the title of the text clearly implies the related nature of pride and prejudice as both Darcy and Elizabeth are often shown to make the wrong assumptions; Darcy’s assumptions grounded in his social prejudice whereas Elizabeth’s is rooted in her discernment led astray by her excessive pride. As Austen subtly mocks the two lovers biases, she gives the impression that while such flaws are common faulting someone else for the prejudice is easy while recognising it in yourself is hard. While Austen’s representation of prejudice is aligned with personal development and moral growth as she wittingly condemns those who refuse to set aside their prejudices like Lady Catherine and Caroline.

The family unit that Austen displays with Pride and Prejudice becomes the social and domestic sphere as it forms the emotional center of the novel in which she grounds her analysis and discussion. Not only does the family determine the social hierarchy and standing of its members but provides the intellectual and moral support for its children. In the case of the Bennet family, Austen reveals how the individuals identity and sense of self is molded within the family as she presents Jane and Elizabeth as mature, intelligent and witty and lydia as a luckless fool. Not only this, Austen reveals the emotional spectrum that lives within every family as shown through Elizabeth’s varying relationship with her parents; the tense relationship with her mother and sympathy she shares with her father.

At the center of its plot, Pride and Prejudice examines the complex inequality that governs the relationships between men and women and the limited options that women have in regards to marriage. Austen portrays a world in which the socio-economic relationship between security and love limits the woman and her choices as it based exclusively on a family’s social rank and connections. Indeed, the expectations of the Bennet sisters, as members of the upper class is to marry well instead of work. As women can not inherit their families estate nor money, their only option is to marry well in the hope of attaining wealth and social standing. Through this, Austen explains Mrs. Bennet’s hysteria about marrying off her daughters. Yet Austen is also shown to be critical of those who marry purely for security, thereby offering Elizabth as the ideal, who initially refuses marriage as she refutes financial comfort but ends up marrying for love.

Class and Wealth

As Austen focuses much of her novel on the impacts of class and wealth, she makes clear of the system that favours the rich and powerful and often punishes the weak and poor. Characters like Lady Catherine, whose enforcement of rigid hierarchical positions often leads her to mistreatment of others. Other characters like Mr. Collins and Caroline are depicted as void of genuine connection as they are unable to live and love outside the perimeter of their social standing. In contrast, characters such as Bingley and the Gardiners offer a respectable embodiment of wealth and class through their kindness and manners. Indeed, Austen does not criticise the entire class system as she offers examples that serve to demonstrate the decency and respectability. Darcy embodies all that a high-class gentleman should as though he is initially presented as flawed and arrogant, it becomes clear as the novel progresses that he is capable of change. Always generous and compassionate, his involvement with Elizabeth helps to brings his nurturing nature to the foreground, evident in his attempts to help the foolish lydia. Ultimately, Austen suggest through Darcy’s and Elizabeth's union that though class and wealth are restrictive, they do not determine one’s character nor who one is capable of loving.

Literary Devices

• Symbolism, imagery and allegories
• Writing style
• Three Act plot

Important Quotes

• “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” (ch.1)

When writing on any text in Text Response, it is essential to use quotes and analyse them.

Let’s take this quote, for example.

“it is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife”

This is the opening line of the novel. It is satirical, ironic and mocking in tone. Austen makes fun of the notion that wealthy bachelors must be wanting to marry in order to be valued in society. By using this tone, she subverts this “truth universally acknowledged” and encourages readers to question this societal presumption of wealth and marriage.

Have a look at the following quotes and ask yourself, ‘how would I analyse this quote?’:

• “She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men.” (ch.3)
• "An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do." (ch.20)
• “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” (ch.34)
• “They were all of them warm in her admiration; and at that moment she felt that to be mistress of Pemberley might be something!” (ch.43)
• “You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once. My affections and wishes are unchanged, but one word from you will silence me on this subject forever.” (ch.58)

Essay Topics

1. What do the various relationships shown in Pride and Prejudice tell us about love, marriage and society?

2. Austen shows that even those of the best moral character can be blinded by their pride and prejudice . To what extent do you agree?

3. Elizabeth Bennet holds a radical view of marriage for her time . What impact does this attitude have on the other characters' lives and relationships ? Discuss.

For more sample essay topics, head over to our Pride and Prejudice Study Guid e to practice writing essays using the analysis you've learnt in this blog!

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, to then be able to apply these in your own writing.

Step 3: C reate a Plan  

Character-based Prompt: Elizabeth Bennet holds a radical view of marriage for her time. What impact could this attitude have on the other characters' lives and relationships? Discuss. 

The following comes essay topic breakdown comes from our Pride and Prejudice Study Guide:

Step 1: Analyse 

Elizabeth Bennet holds a radical view of marriage for her time . What impact could this attitude have on the other characters' lives and relationships ? Discuss.

A character based essay prompt is pretty self-explanatory as the prompt will have a specific focus on one character or a group of characters. While they may look relatively simple and straightforward, a lot of students struggle with character based questions as they find it is hard to discuss ideas in a lot of depth. With that in mind, it's important that we strive for what the author is saying; what is the author trying to convey through this specific character? What do they represent? Do they advocate for specific ideas or does the author use this character to condemn a certain idea and action?  

This question is looking at the attitude Elizabeth Bennet has in regard to the expectation and institution of marriage and how her view could impact the lives of the people around her. As always, we want to make sure that we not only identify our key words but define them. I started by first defining/ exploring the attitude Elizabeth holds towards the institution of marriage ; as marriage was not only an expectation in the times of regency England but a means to secure future financial security , Elizabeth’s outlook that an individual should marry only for the purpose of happiness and love was not only radical but dangerous . Her outlook, while noble, could and did put her family at jeopardy of being cast out from their estate as without a union between one of the Bennet daughters and Mr. Collins, Mr. Collins would have every right to do so as the only male inherent. I also looked at the wider implications Elizabeth’s outlook could have on the lives of the other characters such as Charlotte , Darcy and Bingley .

Step 3: Plan

Contention : Your contention relates to your interpretation of the essay prompt and the stance you’re going to take – i.e. are you in agreement, disagreement, or both to an extent.

While radical for her time, Elizabeth's progressive view of marriage can be seen to advocate for the rights of women and love and happiness but also, can jeopardise the livelihoods of those around her as Elizabeth is guided by selfish motives. 

P1: The radical view of marriage Elizabeth holds can be viewed as selfish and guided by her own self interest which is shown to negatively impact the lives of her family. 

P2: As Elizabeth diverts from the traditional approach to marriage, she encourages her friends and loved ones to follow their own hearts and morals rather than society's expectations. 

P3: Because Elizabeth is depicted as a bold and beautiful woman, she is unable to recognise that her radical view is a luxury that not all characters have access to. 

If you'd like to see an A+ essay on the essay topic above, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Pride and Prejudice Study Guide: A Killer Text Guide! In it, we also cover themes, characters, views and values, metalanguage and have 4 other sample A+ essays completely annotated so you can kill your next SAC or exam! Check it out here ."

The idea of VCE English assessments can sometimes be a bit daunting. Always so much you want to write, never as much time as you need and they always seem to come around sooner than you think. But there is never as much cause for alarm as you think and I’m willing to guarantee that almost everyone reading this is so much better than they think at English . 

You’ve already come so far from where you started in your high school English journey. I’d like to challenge anyone reading this to go and find the earliest English essay you’ve got tucked away somewhere. I’ve done this myself and, if yours is anything like mine, you’ll be almost disgusted by what you find. Year-7-me just loved to retell the story, cling to my rigid TEEL formulas and leave my quotes just dangling, write the same basic paragraph three times and call it a complete essay. Not a pretty read and I’m sure a couple of you can relate. But, this exercise does at least prove a very valuable point: you are capable of improving at English .

So let’s start thinking about that essay you’ve got coming up again. You’ve just given yourself a nice confidence booster with that walk down memory lane, reminding yourself that you are a more-than-capable English student these days. But all you now want to do is your very best for this next essay. But how do you keep improving between now and then? After all, if you knew what you had to do to improve your English, you’d already be doing it, right? So what we’re going to do now is to have a look at what taking your essays to that next level really looks like; how you can improve your writing between now and then, whenever that might be. 

So to do this, we’re going to take an already good paragraph and improve it together. Take this one, one that I conveniently prepared earlier to a Station Eleven prompt that has to do with the theme of memory/history.

Part 1: The Good Paragraph

Q: Mandel shows the importance of remembering the past. To what extent is this true?

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating such an enduring legacy for a character who believes in the power of such legacies - 'they’re all immortal to me' - Mandel implies that characters like this are able to achieve meaning and fulfilment by preserving these legacies. Mandel also uses the character of Miranda to highlight the importance of legacies to provide meaning where Miranda lacks it in her day-to-day life. Even though Miranda’s life is left incomplete by her sudden death, the beauty in the scene of her death suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters: 'its extravagant sunsets and its indigo sea'. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the value of creating legacies that allow others to remember the past.

Let’s call this our good paragraph. I’ve modelled this off of an essay I found from my Year 10 self, as happy as Year-10-me would have been with this performance, it’s far from perfect. But, it is a very functional paragraph that does all that a paragraph really needs to do. It introduces an idea, justifies it with evidence, links back at the end and doesn’t waste too much time retelling the story. So now we get to the fun bit: we’re going to take this already good paragraph, and turn it into a better paragraph.

So how do we make a good paragraph better ? 

Well, for a start, we can integrate our quotes so that the paragraph reads better . You’ll see in just a second how much of a difference this can make. This is something I learnt to do between Years 10 and 11. Other improvements that could be made include answering the prompt more directly and using some of the language of the prompt within our answers. So let’s change this and see now what these small differences do to our paragraph.

Part 2: The Better Paragraph

A: In Station Eleven, the characters often find meaning from the creation of enduring legacies that allow others to remember the individuals who came before. Mandel demonstrates this idea through the naming of Jeevan’s son after his brother, Frank. By creating this symbolic memorial for a character who believes that such legacies can allow individuals such as actors to become 'immortal', Mandel implies that characters like this are able to achieve meaning and fulfilment through their legacies. Furthermore, Mandel also uses the character of Miranda to highlight the importance of creating a legacy through one’s art to provide meaning where Miranda lacks it in her day-to-day life. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, the meaning in her life comes from the legacy that she creates from the art she makes in her 'independent' life. This is contrasted against the character of Arthur, whose legacy does not influence any events in the post-flu world, because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, implying less fulfilment in his life. Therefore, Mandel uses her text to demonstrate the importance of creating legacies that allow others to remember the past.

There we have it. The paragraph has been rewritten based on the ones I wrote in Year 11 and we have the first signs of improvement. The topic sentence now references the ‘remembering the past’ aspect of the prompt. The linking sentence now uses the ‘importance’ part of the prompt. All of the same quotes are used but are now integrated (check out How To Embed Quotes in Your Essay Like a Boss if you need more help with this). 

We’ve made sure not to have more than one sentence starting with Mandel (a small nitpick but still a nice addition). It flows better. It answers the prompt more directly and suddenly we have a better paragraph . Year-11-me has shown improvement and with this comes better scores and more confidence: something that’s very important for success in English. If you’re confident and proud of what you’re writing, then you’ll have higher marks and, even better, more fun!

We haven’t changed much and the paragraph is already better . But it’s not my best paragraph. Between Years 11 and 12, I learnt even more things. I was taught to write about not only the world of the text but also the world around us that we and Mandel live in: you’ll notice that this better paragraph talks more about ‘characters’ that live ‘in the text’ whereas my best paragraph would talk more about the text in the context of the world you and I live in . I learnt to make my topic sentences more abstract and broad so that they relate more to our own world and less to the world of the text and remind whoever’s assessing that my ideas apply to everyone and not just within the texts. I learnt to respond more directly to different types of prompts (Discuss, To what extent is this true?, How does Mandel… and others) and I learnt to be more direct in discussing the views and values of Mandel (what she likes, what she doesn’t like, what she wants to see more of in the world)

So let’s apply some final changes, and see what our paragraph looks after two more years of refining English. This final paragraph is almost exactly the same as one I wrote in timed conditions before my final exam.

The Final Part: The Best Paragraph

A: Mandel explores the importance of legacies, not only as sources of meaning for their creators, but also for their roles in allowing others to remember the roles of those who came before. Such an idea is explored through the naming of Jeevan’s son, securing the legacy of Frank. By affording such a permeating influence to an individual who writes of and appreciates the 'immortal[ity]' of long-dead actors, Mandel implies that an appreciation of the inherent value in a legacy and its ability to influence future events is a key quality in individuals. Furthermore, Mandel uses the character of Miranda to highlight the importance of creating a legacy that outlives oneself to provide meaning. Although abruptly killed off in the middle of the text, Mandel imbues her death with a certain beauty through its 'extravagant sunsets and indigo sea'. In doing so, Mandel provides a sense of completion about Miranda’s life and suggests that a sense of fulfilment has been achieved despite the emptiness of her life relative to other characters. Hence, Mandel suggests that the meaning in Miranda’s life comes from the legacy that is the art she makes in her 'independent' life that continues to influence events and allow others to remember the past long after her death. Mandel provides contrast through her exploration of Arthur, whose legacy does not influence any events in the post-flu world because of his failure to create legacy or meaning beyond his day-to-day life. Further, Arthur’s death in the hectic Elgin Theatre has far less beauty than that of Miranda, reinforcing Mandel’s view that individuals who forfeit control of their own legacies, as Arthur does, lead far less completed and fulfilled lives. Therefore, Mandel highlights the immense importance of creating legacies that allow others to remember the past and encourages greater appreciation of the value of legacies in contemporary society.

So, two years later, and we’ve got what is still essentially the same paragraph, just brushed up to an even better, or best , standard. So if we’re using the same evidence, exploring the same characters and introducing the same ideas, why is this paragraph better than the last two?  

Well, if you study the topic and linking sentences, they discuss the concept of a legacy being a means of allowing others to remember the past and the importance of such a thing and everything in-between links this concept to the text. ' Mandel highlights the immense importance' represents a subtle but nice nod to the wording of the prompt by giving an ‘extent’ to which Mandel ‘shows’ or highlights. Every piece of evidence is discussed in reference to what Mandel believes about the world around us and how individuals should act in modern society. 

And there’s something very nice that we can now reflect on. This paragraph has gone from good to much better without having to introduce any new ideas. There are no overly complex interpretations of the text, we’ve just taken the same skeleton of a paragraph and made it look better without changing its real substance. 

And one of the wonderful things about making efforts to improve the quality of your writing is all the confidence that comes with this, whether this be from getting better at discussing views and values , learning to integrate your quotes or any achievement like this. I know that my confidence surged as my English got better and, as I got more confidence in my writing, I got more confidence in what I wrote about. My interpretations of the text became more and more obscure and a bit whacky at times and I had fun writing about these things. If you improve your writing, you’ll improve what you’re writing about which will mean you’ll have more fun writing and the cycle of improvement will just continue.  

So to cap off, I thought it might be nice to have a checklist of sorts that you might be able to put against your own writing.

What’s the next step I could take in improving my English?

• Are all my quotes properly integrated ? (Hint: if the sentence doesn’t make sense without quotation marks, the answer is no)
• Have I got more than a couple of sentences starting the same way or could I vary my sentence structure a bit more?
• Have I explicitly used some parts of the prompt in my own writing so that I can directly answer the question in my essays?
• Am I writing about both the world of the text and the world we live in outside of the text instead of just the characters and relationships within the text?
• Are my topic and linking sentences describing a concept that relates to the prompt with everything in-between relating this concept to the text? (I found this a very useful way of thinking of paragraphs)
• Is all of my evidence being discussed in relation to the views of the author ?
• Does my essay/paragraph explain what the author would like to see more of/less of in modern society based on what is explored in the text?
• Is my essay/paragraph specific to the exact wording and type of prompt?

And these are just some of the improvements that could be made. I’m sure each of you could ask teachers and past students and find many, many more tips on improvement. Just as long as you’re thinking about what the next step in your English might be, then you’re already headed in the right direction. So good luck and happy writing!

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! ☺

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• Mar 28, 2020

Comparing Arthur Miller's The Crucible and Rosalie Ham’s The Dressmaker

Updated: Jul 10, 2022

This post is a great read for anybody, but it will be especially intriguing for:

Teachers of Unit Four VCE English, Area of Study One

Students studying these texts as a part of VCE Reading and Comparing Texts

Those who enjoy either of the texts and would like to read something new.

What happens when our behaviour is tied more to the group we are a part of and less about our own desires?

How is human behaviour changed when people are aware that every action will be judged by those around them?

What is it within a society that can lead people to resort to absurd or abhorrent behaviour?

Contextually separated by centuries and continents, The Dressmaker and The Crucible find common ground in their exploration of the most awful side of human behaviour and the pressure felt by individuals within a society that sets a strict moral and social code. Students will find similarities in the isolation of Dungatar and Salem, as well as the herd mentality of their citizens. What may prove more challenging however, will be teasing out the differences between these texts and their comments on how individuals can be led to panic, fear, jealousy and denial.

The people of Dungatar are introduced in a manner which some students may find disorienting and difficult to grasp. However, as the novel continues, the interactions between the townspeople and their connections to each other are made more clear. Gradually, we begin to see them as a collective through the social events and the eisteddfod, as well as through the rejection of Tilly. By outlining each character’s personal experiences before bringing them together, Ham is able to convey the lack of privacy and the unspoken open secrets known by the people. Farrat refers to them as his “flock”, however other terms such as ‘mob’ and ‘herd’ may be more applicable in certain sections.

Tilly’s reemergence exposes the swift and lasting justice of the rural community as the townspeople won’t forget the past and continue to ostracise Tilly. Ham’s description of “The Hill” and the tip enhance this rejection as it is made clear that the people of Dungatar find comfort and solidarity within their tight knit community. The rejection and hatred opens an avenue for the venting of frustrations and the people are able to use Tilly and Molly as a scapegoat for all of the pressures they experience at the hands of their fellow townspeople and those within their own families. The unspoken acceptance of violence, control and abuse is tempered by their lashing out at the ones they reject - promiscuity becoming a sin that they can all stand in judgement of in order to help them cope with their own failings.

Further huddling for comfort can be seen as Tilly begins dressing them in beautiful gowns. Ham amplifies the group setting by commenting that the women of Dungatar had been “renovated” and the reader now sees them as a collective. The period of excitement for the town is temporary, as the social gatherings and delight in wearing such beautiful gowns culminate in a disastrous rendition of Macbeth. By the novel’s end, most characters have succumbed to the pressures of their personal lives or the expectations of those around them. The “costumes” and the gowns designed to work with their flaws are not enough for them to project who they wish to be in the eyes of others and both the social fabric, as well as the physical buildings of the town are destroyed.

Miller’s play also examines the tendency for individuals to seek confidence within the strength of a group. Similarly to the people of Dungatar, the families of Salem experience a period of immense pressure which heightens existing feuds and creates division amongst a terrified populace. In a scramble to find meaning for the hardships they’ve experienced, or to bolster their own sense of righteousness, the people of Salem turn on eachother and seek a scapegoat as a release for all of their frustrations.

It is worth examining the codes followed by both groups and the social structures that keep these in place. The theocracy that dominates the town of Salem is strong and can be felt by all of those within the township as they conform to the word of the church and collectively fear all that exists outside of Salem in the “virgin forest...the devil’s last preserve”. This strict moral code is much more prevalent in the daily lives of the people of Salem, yet it holds similar bonds to the code adhered to by the people of Dungatar. In the absence of a single religion or ideal to all fall behind, the characters from The Dressmaker still rigidly conform to the conservative values of 1950s Australia. The sins of the people are covered over, hidden from view or subtly ignored. As Molly points out to her daughter, “Everybody knows everything about everyone but no one ever tittle-tattles because then some else’ll tell of them. But you don’t matter – it’s open slather on outcasts.”

As readers, we can analyse the manner in which both Miller and Ham allow us to be removed from the people of their texts as we are disgusted, amused or distrubed by the goings on in Salem and Dungatar. Miller points out that “one can only pity them all” and when we view his characters in this manner, the play becomes a prism in which we can sympathise with the fear and hysteria and see how such strict expectations of behaviour and conscience can lead to such awful outcomes. In a similar manner, by the time the bus drives back to a scorched Dungatar, the reader views the residents as a collective of hypocritical, absurd individuals who have buckled under the pressure of social expectation and the struggle to conform to a society so full of expectation and judgement.

Where we can find differences in these texts is in the source of the pressure that leads to their downfall, as well as their ability or inability to heed the words of those who hold authority. The people of Dungatar are torn apart by their own actions and the pressures they place upon those close to them and others within the town. Through revenge, aspiration to prove one’s self and jealousy, the people of the town are led down a path of destruction. This pressure not only exists in the projection of an image towards the rest of the society, but also by the expectations (some absurd, some abhorrently evil) placed upon people by those in their own homes. The desire to be something more and to outdo rivals leads to an eruption of emotion amongst the people as the novel concludes. Amongst the destruction, Farrat stands hopeless as he is unable to save the town or it’s population from themselves and what they have created.

Whilst there is most definitely pressure within Salem and its households, the arrival of Hale, Danforth and the other judges introduces a dynamic of authority which aims to cleanse the town of evil. Under such a microscope, its people panic and hysteria ensues. The people find comfort in each other, however they succumb to a mob mentality that sees this validation come from the accusations of others and the blaming of all evil and wrongdoing upon those who are outside of their mob. The people’s trust in authority and fear of Danforth’s judgement leads them to become such a pakicked mob. Their adherence to the authority and fear of others can be seen differently to the people of Dungatar who have a leader in Sergeant Farrat who espouses messages of tolerance and love. Tragically, the people of the country town are completely deaf to his message and opt to continue in a cycle of hatred and jealousy. As Farrat aims to protect his “flock”, the people can not, or will not hear his sermon and their behaviour proves to be their own undoing.

Taking a step back and viewing Salem and Dungatar as stages with tragic characters playing out their lives can open us up to a critical understanding of the dangers of a herd mentality and why people seek comfort in the company of some and the exclusion of others. To see the fractured societies and the tangible and intangible destruction of the town and village allows students to analyse what led to such destruction. Whilst there are many similarities within these texts, the richest analysis and comparison will come from unpacking the differences in what leads people to act in such hysterical or plainly evil ways.

Ben Taylor - The English Lab

We’ve got lots more to say about this pair!

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In this presentation, teachers will be provided with a booklet of resources which push students to think about the texts in a conceptual manner. You'll be introduced to new ideas and points of comparison, before being taken through worked examples which utilise lessons about writing succinct, insightful and comparative pieces.

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The Crucible

How envy drives unfair judgment: comparing the crucible (drama) and the dressmaker (novel) forest lin 12th grade.

In Arthur Miller's "The Crucible" and Rosalie Ham's "The Dressmaker", an unbalanced power distribution stemming from an unjust social hierarchy causes much jealousy displayed amongst the citizens of Salem and Dungatar, influencing their judgements on other individuals. The 17th century Puritan collective of Salem, fraught with economic disparity, are blinded by a desire for money and the power that it brings in their flawed hierarchy, unfairly judging and accusing individuals in order to achieve monetary gain. The rural Australian town of Dungatar, despite being set 300 years later, have the same socioeconomic inequities in their society, with the richer and more influential population still envious over the poorer collective, oppressing them to satisfy the greed for wealth. Both Miller and Ham similarly explore the dangers of an unfair patriarchal system in communities as well, exposing the capacity for this oppression to cause women to be envious of one another, influencing their judgements and ideas as a whole. Miller and Ham analogously highlight the capacity for an individual with a lower social status to eventually despise their lack of influence enough to seek revenge on the collective which mistreated them, which can be...

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The Crucible / The Dressmaker – Comparative Sample Essay

Insight Sample Essays are high-level sample essays written by experienced teachers, assessors and experts in the analysis of literature, poetry, film and dramatic texts. Each sample essay shows students how to identify and analyse the explicit and implied ideas, values and themes in each text, and the ways in which textual features create meaning.

EACH SAMPLE ESSAY FEATURES

• Essay topics designed to conform in style and focus to the 2017-2021 Study Design for VCE English/EAL
• Annotations, with assessor comments identifying the elements of the essay that work well, as well as identifying areas for improvement
• Tips on how to approach the essay topic, with appropriate strategies for analysis and selection of relevant textual material

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The Crucible and The Dressmaker

The crucible, john proctor.

Arguably one of the most flawed heroes in all of literature, John Proctor is known throughout the village as being an honest, hardworking and upright citizen. Six months prior to the commencement of the play, when his wife Elizabeth was unwell, John had an affair with the young housemaid Abigail Williams. His dalliance cost him dearly; Elizabeth’s suspicion causes a rift between them, but his own self-guilt is far worse. This guilt propels him to work tirelessly to please his wife and family and live quietly among the community.

At first, John is keen to stay away from the village proper when rumours of witchcraft begin to rise, but he is soon called to answer for his sins when his ambivalence to the trials is seen as suspicious. His absence from attending regular church sessions, brought on by his disdain of the Reverend Parris and his forthright manner of addressing the officials of the court, brings him under scrutiny. The play culminates in him having to admit his affair with Abigail and dash away his reputation to save his and Elizabeth’s life. John’s worst critic is himself, as he suffers immensely as a result of what he perceives has been weak behaviour on his part. At the last moment possible, John finds the strength needed to prevail and he mounts the gibbet to be hung, a man of goodness with God.

John Proctor Quotes

‘Abby, I may think of you softly from time to time. But I will cut of my hand before I’ll ever reach for you again.’ (Proctor to Abigail) Act 1

‘I cannot speak but I am doubted, every moment judged for lies, as though I come into a court when I come into this house!’ (Proctor to Elizabeth) Act 2

‘Oh Francis, I wish you had some evil in you that you might know me! A man will not cast away his good name. You surely know that.’ (Proctor in court after confessing to lechery with Abby) Act 3

‘I am not that man. My honesty is broke, Elizabeth. I am no good man. Nothing’s spoiled by giving them this lie that were not rotten long before.’ (Proctor just before he considers confessing) Act 4

Elizabeth Proctor

Goody Proctor is described as cold and critical, her demeanour is significantly removed from that of the more passionate women in Salem such as Goodwife Putnam, Abby and Mary Warren. Aware of her husband’s previous indiscretion with the young Abby, Elizabeth has dismissed the girl and has held onto the secret out of respect for her husband, of whom she still believes is a good man who was just misled. Audiences believe that it is because of John’s affair that an ‘everlasting funeral marches round your [her] heart’ (Act 2) and she remains chilly toward her husband throughout the play but as their affection for one another rekindles, Elizabeth admits that she ‘counted herself so plain, so poorly made… no honest love could come to me [her]’ (Act 4), and explains that her poor esteem meant she judged him under a constant cloud of suspicion.

Most notably, her refusal to agree with Hale when he suggests that anyone might fall under the devil’s spell during the ‘monstrous attack’ (Act 2) shows her to be a woman of great strength and conviction. In addition, she acts with wisdom and reason when faced with conflict, reasoning with Hale that she cannot believe ‘the Devil may own a woman’s soul… when she keeps an upright way’ (Act 2). In the same way, she shows great courage when she is parted from her husband and children under a false accusation and simply resigns that ‘I [she] think[s] I [she] must go with them’ (Act 2) and instructs Mary on how to tend for the boys and to make their breakfast. Her sensibility, which is perceived by many as coldness, is chastised by Judge Danforth when he questions the ‘wifely tenderness’ (Act 4) within her and comments that had ‘I [he] no other proof of your [her] unnatural life, your [her] dry eyes now would be sufficient evidence that you [she] delivered up your [her] soul to Hell’ (Act 4).

Goody Proctor’s loyalty to her husband becomes their undoing – she lies for the first time in her life and denies the affair, sentencing both John and herself to be hung.

Elizabeth Proctor Quotes

‘…I will be your only wife, or no wife at all! She [Abigail] has an arrow in you yet, John Proctor, and you know it well!’ (Elizabeth to Proctor) Act 2

‘In her [Elizabeth’s] life, sir, she have never lied. There are them that cannot sing, and them that cannot weep – my wife cannot lie. I have paid much to learn it, sir.’ (Proctor to the court) Act 3

‘Whatever you do, it is a good man does it. I have read my heart this three month, John. I have sins of my own to count. It takes a cold wife to prompt lechery.’ (Elizabeth to Proctor on the morning he is set to hang) Act 4

Abigail Williams

In direct comparison to Elizabeth’s sensibility and stoicism, Abigail’s manipulation of the court and her extraordinary efforts to gain back John Proctor, of whom she has been infatuated with since their affair, is what propels the narrative forward. Abby is relentless in her pursuit of her goal, to be rid of Goody Proctor and to claim John Proctor as her own, finally; she instigates and leads the hysterical pack of girls whom she threatens into submission. Her terrible threat to bring a ‘pointy reckoning’ (Act 1) in them all if they ‘breath a word, or the edge of a word about the other things’ (Act 1) paints her as vicious and capable of brutish violence in order to achieve her goals and keep her name clean in the village. We might have sympathy for a young girl, who having experienced the brutality of frontier life is made to reside with her self-obsessed uncle and is tossed aside by an older married man, but Abigail is hard to forgive when audiences see the devastation she causes in her wickedness.

Both clever and cunning, Abigail is cynical about the respectability of the town, she believes the town is hypocritical, pretending to be one way when in reality they have ambitions to be another – ‘I never knew what pretense Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men!’ (Act 1). Abby believes that her affair with John, whilst short-lived, awakened her sexuality and she considers that his affection and tenderness toward her during that time ‘put knowledge in her heart’ (Act 1) and refuses to let him ‘tear the light out of my [her] eyes’ (Act 1). Believing herself to be enlightened in some way, when Danforth questions her accusations she exclaims that she believes it to be her ‘duty [to] point[ing] out the Devil’s people’ (Act 3) and refuses to back down from her false allegations. But she misjudges her power, and in an effort to confirm it accuses Judge Danforth of being within the Devil’s grasp; this accusation was clearly out of order and she moves to distract the court once more by screaming that a spectre is attacking her and the other girls.

The way she sacrifices her friends, such as Tituba, cements her immorality and soon the only thing left for her to do is turn on John as well by denying the affair and sentencing him to the hangman’s noose. In a last resort for a new life, she robs her uncle of the parish funds and sets off to Boston.

Abigail Williams Quotes

‘My name is good in the village! I will not have it said my name is soiled! Goody Proctor is a gossiping liar!’ (Abby tries to defend her name when Parris asks her) Act 1

‘You drank blood, Abby! You didn’t tell him [Parris] that… you drank a charm to kill John Proctor’s wife! You drank a charm to kill Goody Proctor!’ (Betty Parris) Act 1

‘I saw your face when she [Elizabeth Proctor] put me out, and you loved me then and you do now!’ (Abby is still infatuated with Proctor) Act 1

‘I have been near to murdered every day because I done my duty pointing out the Devil’s people – and this is my reward? To be mistrusted, denied, questioned…’ (Abby in court) Act 3

‘Let you beware, Mr Danforth. Think you be so mighty that the power of Hell may not turn your wits?’ (Abby in court) Act 3

Reverend Samuel Parris

Salem’s resident minister hasn’t always been a man of the cloth, having resided in the Caribbean islands as a merchant at one time, Parris has yet to lose his materialistic manner and this is evident from the first act of the play. Within the first scene we see him fretting, not over the sudden illness of his youngest daughter Betty, or even the souls of his parishioners that he has caught dancing in the woods, but rather over the ‘faction [in the town] that is sworn to drive me [him] from my [his] pulpit’ (Act 1). Miller leaves no ambiguity over why Parris has enemies in the small village, as his notes teach us ‘there is very little good to be said for him’ and he does nothing to redeem himself further in the play.

He is the third minister in the last seven years in Salem proper, hence his anxiety at being ‘howl[ed]… out of Salem’ (Act 1); but rather unforgivably, he is a tyrannical man that barters over his allowance and demands the deed to his parishioners’ homes in order to secure his position. He is not respected by anyone within the town, and characters that enter the text throughout soon begin to disrespect him as well – Danforth finds him intolerable and Proctor lists a myriad of reasons why he ‘like it not that Mr Parris should lay his hand upon my baby [for baptismal]’ (Act 2). Proctor’s further concerns about Salem’s minister is his tendency to preach ‘only hellfire and damnation’ (Act 1), a term used to describe the practice of preaching about God’s judgement and eternal damnation in an effort to scare the attending congregation into obedience. He, and many other Salem citizens express their dislike of Parris’ materialistic tendency and prefer not to attend service when ‘the man dreams cathedrals, not clapboard meetin’ houses’ (Act 2).

His treatment of his slave Tituba (who he has purchased in Barbados to serve him in the ‘new world’ of America) speaks of a cruel man who quickly offers himself as punisher in an effort to try and force a confession from her – and she confirms this notion in a guised manner by stating that the devil has seen Parris and called him ‘mean man and no gentle man’ (Act 1).

Reverend Samuel Parris Quotes

‘We cannot leap to witchcraft. They will howl me out of Salem for such corruption in my house.’ (Parris) Act 1

‘Mr Corey, you will look far for a man of my kind at sixty pound a year! I am not used to this poverty; I left a thrifty business in Barbados to serve the Lord. I do not fathom why I am persecuted here?’ (Parris) Act 1

‘This way, unconfessed and claiming innocence, doubts are multiplied, many honest people will weep for them, and our good purpose is lost in their tears.’ (Parris is worried that he will be rejected if innocents hang) Act 4

Reverend John Hale

Summoned from the nearby town of Beverly, an appointed expert in medicine and the detection of witchcraft, Hale has faith in his own abilities to solve the mysteries of the demonic arts and is much anticipated by the townsfolk of Salem, who look to him for sound logic in the hysteria of it all. Beginning the play as somewhat conceited, he is dismissive of the concerns shared by Parris and denotes a familiarity with ‘tracking down the Old Boy’ (Act 1), a demeanour that puts many at ease. He is good intentioned and is disinclined to rumour or superstition, demanding that the citizens agree that he ‘shall not proceed unless you [they] are prepared to believe me [him] should I [he] find no bruise of hell’ upon the victims, a fruitless demand given how the play progresses. He shows that he is not at all tainted by prejudice when he takes Tituba’s hand during her emotional confession and expresses that she is ‘God’s instrument’ and has been ‘chosen to help us cleanse our village’ (Act 1), a declaration that proves his desire to be non-discriminate in his search for witchcraft in Salem.

Although their initial meeting is tense, Proctor and Hale come to share a similarly critical view on the court proceedings. Both place a high value on reason and upon interrogation, Hale believing Proctor and his household satisfied that they ‘keep a solemn, quiet way’ (Act 2). But upon Elizabeth’s arrest, Proctor calls him ‘Pontius Pilate’, a biblical reference to the leader of Jerusalem that ‘washed his hands clean’ of Jesus’ crucifixion and did nothing to stop the citizens from exacting their execution.

Despite his efforts to maintain reason and equity, justice escapes him as the hysteria of the court and the manipulation of the citizens force him to become a bystander, powerless to interject. He shoulders the blame for what happens to the citizens, in the end trying to convince Goody Proctor to save her husband despite this meaning she would admit to a lie, believing ‘myself [himself] his [Proctor’s] murderer’ (Act 4). He ends up a sad figure, wandering from house to house begging the accused to confess to save their lives, desperate to ‘have more time’ (Act 4) to gain confessions.

Reverend John Hale Quotes

‘Here is all the invisible world, caught, defined and calculated. In these books the Devil stands stripped of all his brute disguises…have no fear now – we shall find him out if her has come among us, and I mean to crush him utterly if he has shown his face!’ (Hale upon arriving at Salem) Act 1

‘Theology, sir, is a fortress; no crack in a fortress may be accounted small.’ (Hale when he is visiting the Proctor household) Act 2

‘There is blood on my head! Can you not see the blood on my head!!’ (Hale just before Proctor hangs) Act 4

‘Let you not mistake your duty as I mistook my own.’ (Hale to Elizabeth) Act 4

Giles Corey

Giles Corey, an elderly member of the Salem community, is a vexatious litigate, a man who proudly admits to being the plaintiff in court thirty-three times and who is considered ‘contentious’ (Act 3) by all who know him. Although he and Proctor ally together under the shadow of the witch-hunt, even John has known the sting of Corey’s legal obsession when ‘last month [Giles] collected four pound damages for you [Proctor] publicly sayin’ I [he] burned the roof off your [his] house…’ (Act 1) to which Proctor vehemently denies saying.

Giles Corey has a pioneering will to work but he is not a man of great learning and thus, when his third wife Martha begins the practice of the ‘readin’ of strange books’ (Act 1), his uneducated intolerance has dire consequences which eventually leads to his wife being swept up into the witch-hunt. When he realises that he has been the cause of her execution, Giles concludes that a way of redeeming his actions would be to shed light on the land-grapping conspiracy involving the Putnams. By refusing to name the man involved in the accusation, he condemns himself to torture and death. His fate is gruesome, yet borne with bravery and a stubbornness that we would expect to see from a tough pioneer who has spent his whole life working the land. By remaining silent until his death, he ensures that his sons will inherit his lands and they will not be forfeited to anyone such as Putnam (or any other property-grabber) to claim for a cheap price. Giles’ pride is his land, introducing himself to men of authority such as Danforth by exclaiming, ‘I have six hundred acres, and timber in addition’ (Act 3) and he proves himself keen to impress the learned men on more then one occasion. There is a bold, rustic simplicity about him which at times is embarrassing, and it makes him old-fashioned in the new Salem which has lost its pioneering honesty and close community spirit.

Giles Corey Quotes

‘It discomforts me! Last night – mark this – I tried and tried and could not say my prayers. And then she [Martha, his wife] closes her book and walks out of the house, and suddenly – mark this – I could pray again!’ (Corey to Hale and the Salem elders) Act 1

‘I’m never put upon; I know my rights, sir, and I will have them.’ (Corey in court) Act 3

‘I will give you no name. I mentioned my wife’s name once and I’ll burn in hell long enough for that. I stand mute.’ (Corey in court) Act 3

The Barbadian slave of Salem’s Reverend Parris has the ambiguous distinction of being considered psychic by the superstitious group of God-fearing Puritans. The citizens often consult her when it suits them but she is aware that she must remain wary if she is to stay clean of any accusation of black magic. Tituba’s stage notes speak volumes about her life in Salem. In the first scene she is said to enter the room ‘very frightened because her slave sense has warned her that, as always, trouble in this house eventually lands on her back’ (Act 1). Tituba’s affection for Betty is unquestionable as she quails ‘my Betty no goin’ die…’ (Act 1) but all this is soon dismissed when the blame is placed on her shoulders for the suspected ‘trafficked[ing] with spirits in the forest’ (Act 1) that she is said to have instigated. It doesn’t take long for other citizens to see an easy target in Tituba and as the strain of the accusations grows, even Abby begins to weave a deception that ‘Tituba conjured Ruth Putnam’s dead sisters’ (Act 1), feeding the suggestion to the girls who would do almost anything to avoid being whipped or worse.

The apex in Tituba’s storyline occurs when she is interrogated by Hale, who despite his relentless questioning claims to be doing so in order to help her realise her potential to ‘cleanse the village’ (Act 1). The right responses are fed to her and under scrutiny, she parrots Hale’s and Parris’ answers back to them and finally confesses to communing with the devil.

Tituba Quotes

‘Mr Parris’s slaves has knowledge of conjurin’, sir…she [Ruth] should learn from Tituba who murdered her sisters…’ (Ann Putnam to Hale) Act 1

‘You [Abigail] beg me to conjure! She beg me make charm… I have no power on this child [Betty], sir…’ (Tituba to Parris and Hale) Act 1

‘But he [the Devil] say, “You work for me, Tituba, and I make you free! I give you pretty dress to wear, and put you way high up in the air, and you gone fly back to Barbados!’’’ (Tituba when she is being questioned by Hale) Act 1

Deputy-Governor Danforth

Danforth is the civil deputy-governor and in the absence of the Governor himself he is the principal officer in charge of the overall pioneer state. In the Puritan community, he rules the theocracy in all aspects of law and order, civil and religious. By virtue of the fact that his speeches are longer in the play and there are more of them then any other character, Danforth is awarded more weight than his partner, the ‘bitter, remorseless Salem judge’ (stage notes) Judge Hathorne.

Danforth is a pious fanatic, overruling justice from his lofty position of high responsibility and is convinced of the legality and justice of the cause of the true religion. He will not stand for anyone that tries to undermine the court and believes any ‘defence [to be] an attack on the court’ (Act 3). He is hard, cruel and unrelenting; even contemptuous of these lesser Salem folk caught up in affairs beyond their comprehension – any opposing pleas he treats as contempt of court and any petitions that are mustered he uses as charge-sheets to swell the ranks of those arrested under suspicion.

From the moment he begins hearing the preceding evidence, he is convinced in the genuine presence of witchcraft and feels empowered to deal with it using the accepted means of harsh imprisonment, torture and death. Danforth inexorably pursues what he must believe to be right. He is dogmatic and bigoted, appalled when he discovers Proctor plows his field on Sunday, or that Abby often laughs at church. He admits the very nature of the crime of witchery as being ‘ipso facto… an invisible crime’ (Act 3), and feels obliged to rely upon the ‘victim’ Abby and her witnesses; he considers Abby and the other girls to be children, and that their innocence protects them from the lies of adults. Therefore when Elizabeth refuses to condemn her husband of lechery, Danforth is utterly reinforced in his original convictions.

He remains hard to the end, when he comments the condemned must feel the ‘perfection of their punishment’ (Act 4) and he believes himself to have been empowered, and he must help the other officials ‘draw yourselves [themselves] up like men and help me’ (Act 4) to exact justice in the name of God.

Many audiences interpret him as evil beyond reprieve but Miller’s depiction allows for contention that some men can be capable of monstrous evil because they do not fully know, or care to understand, exactly what they are doing. Danforth truly believes he is doing the will of God in ousting those hidden and afflicted by the Devil, and the history of religious and political persecution surely gives weight to this view. He must be seen beyond the play, both allegorically and symbolically – he sums up the human struggle between the individual and external authority. Danforth is not a fictional monster, but merely a product of the system; the law personified, a model of Puritan justice.

Judge Danforth Quotes

‘Children, a very augur bit will now be turned into your souls until your honesty is proved. Will either of you change your positions now, or do you force me to hard questioning?’ (Danforth to the girls in court) Act 3

‘Postponement now speaks a floundering on my part; reprieve or pardon must cast doubt upon the guilt of them that dies till now. While I speak God’s law, I will not crack its voice with whimpering. If retaliation is your fear, know this – I should hang ten thousand that dared to rise against the law…’ Danforth (Act 4)

‘Hang them high over the town! Who weeps for these, weeps for corruption!’ Danforth ( Act 4)

Thomas and Ann Putnam

The Putnams are characterised as vindictive, superstitious and deceitful. Their opportunistic ways see them not only survive amidst the chaos of the witch-hunt but flourish, having expanded their acreage after acquiring land from those that have been wrongly accused.

Goody Putnam’s obsession with having ‘laid seven babies unbaptised in the earth’ (Act 1) sees her riddled with guilt and eager to lay the fault on someone else. At first, she suggests that Tituba should be questioned about their deaths, then the blame shifts to Goody Osburn ‘who were midwife to me [Ann Putnam] three times…my babies always shrivelled in her hands’ (Act 1) and finally it is Rebecca Nurse that stands accused of the ‘the marvellous and unnatural murder of Goody Putnam’s babies’ (Act 2). Goody Putnam’s grief has addled her brain and she feels victimised at having lost so many children; a tragic situation to be sure but one that is once more abused in Salem city. Her husband Thomas however, is a powerful community leader that Miller describes as having a ‘vindictive nature’ (stage notes). His behaviour throughout the play indicates his fervent desire to seize the land of his neighbours and the witch-hunt merely provides him with the facilities to do so, with relative ease.

Thomas and Ann Putnam Quotes

‘For how else is she [Ruth] struck dumb now except some power of darkness would stop her mouth? It is a marvellous sign, Mr Parris.’  (Putnam) Act 1

‘You think it God’s work you should never lose a child, nor grandchild either, and I bury all but one?’ (Goody Putnam is envious of Goody Nurse’s prospering family) Act 1

‘That tract is in my bounds, it’s in my bounds, Mr Proctor… you load one oak of mine and you’ll fight to drag it home!’ (Putnam threatening Proctor and Corey about his land) Act 1

‘This man [Putnam] is killing his neighbours for their land!’ (Giles Corey accuses Putnam for his evil plots) Act 3

Sarah Good and Sarah Osburn

Sarah Good is a ‘drunkard and a vagrant’ (Miller’s stage notes) and Mary Warren accuses her of making her ill by ‘mumbling’ (Act 2) when she was refused anything to eat or drink.

Sarah Osburn, first accused by Tituba as being one of the names in the Devil’s book, was a midwife to Goody Putnam. Goody Putnam lost all her children but one and is looking for someone to blame for it. Goody Proctor also calls her a drunk.

Sarah Good and Sarah Osburn Quote

‘There be certain danger in calling such a name – I am not Goody Good that sleeps in ditches, nor Osburn, drunk and half-witted… she means to take my place, John.’ (Elizabeth believes Abigail has ulterior motives for accusing her) Act 2

Rebecca and Francis Nurse

The Nurse family are an atypical foundation in any pioneering village – morally strong, hard working and forthright. Rebecca Nurse attracts envy and resentment for being far more sensible and spiritual than most others and it is for this reason that she is an easy target. She warns Parris to stay calm and ‘let us go to God for the cause of it [the strife with the young girls]… let us rather blame ourselves’ (Act 1), a notion which would have sat uneasily with the more paranoid citizens who operated in the community. Hale, likewise, reaches this sensible conclusion when he suggests the community ‘counsel among yourselves [themselves], think on your village and what may have drawn from heaven such a thundering wrath upon you all’ (Act 3).

Miller’s note on the Nurses suggests that land disputes were the basis for naming Rebecca, but in testament to her character, others cannot believe that ‘such a one be charged’ (Act 2) and many are willing to testify to the good nature of her. It is a shame that her sensibility is not heeded from the outset of the play for she concludes that the children (Ruth and Betty) are merely playing at a game when they pretend to be ill, and that they will ‘wake when she [they] tire of it’ (Act 1), dismissing the severity that others such as Parris and the Putnams have leapt to and dismissing it as an act in their ‘silly seasons’ (Act 1). Her reputation as a wise and upright citizen is such that even Proctor ‘defers to her’ (stage notes, Act 1) when the conversation gets heated and he responds favourably to her when she tries to quell his fury at the Putnam’s claims.

The same goodness can be seen in Francis Nurse, when he attends the court with Giles and John to free their wives and he becomes fretful that he has ‘brought trouble on these people [those that signed the petition to the character of the women]’ (Act 3) when Danforth orders warrants drawn up for all those that are named in the deposition.

As his beloved wife is hung, Francis becomes the carer for the Proctor children and a more reliable caretaker there could not be. The Nurses act as a moral compass to those within the play, even as Rebecca mounts the scaffold she sets an example to Proctor by refusing to confess to ‘a lie’ (Act 4). Her humility is evident until the very end when she begins to collapse on her way to the gallows and excuses her reaction to Proctor, who catches her. In the same way, her compassion is indicated in her attempts to soothe her fellow accused with ‘let you fear nothing… another judgement waits us all’ (Act 4) marking her as a true Christian woman with no qualms about her own righteousness.

Rebecca and Francis Nurse Quotes

‘A child’s spirit is like a child, you can never catch it by running after it; you must stand still. And, for love, it will soon itself come back.’ (Rebecca) Act 1

‘There is prodigious danger in the seeking of loose spirits. I fear it, I fear it.’ (Rebecca) Act 1

‘My wife is the very brick and mortar of the church, Mr Hale…’ (Francis defending his wife when she is arrested) Act 2

Ezekiel Cheever

Ezekiel Cheever is the town tailor. As a member of the Salem society, Cheever’s decision to help the court carry out their process does not bode well for him. He is ambivalent and thinks nothing of arresting those who have been issued with a warrant.

Ezekiel Cheever Quote

‘You know yourself I must do as I’m told. You surely know that, Giles.’ (Cheever defending his actions in arresting his fellow neighbours) Act 2

Marshall Herrick

A law officer who appears to have a conscience about the happenings; he does his duty reluctantly but begins drinking in the fourth and final act when the strain of punishing neighbours and friends becomes too much and he tries to drown out his guilt.

Susanna Walcott is one of the girls who name the witches.

Mercy Lewis is the Putnams’ servant, who escapes during the night with Abby at the end of the play. In Miller’s stage notes, he observes that she is ‘closest in spirit’ to Abby and is also seemingly attracted to Proctor’s oozing masculinity.

Ruth Putnam is the Putnams’ last-living child and is afflicted by the ‘illness’ that befalls the two youngest members of the girls when they are caught dancing in the woods. Ruth, whether she wants to or not, is doing this for her father in order that he may seize the land cheaply from the accused.

Betty Parris falls into a coma-like state as well, literally paralysed by fear at being caught out doing the wrong thing. Interestingly, other than Proctor and Tituba she is the only other character that accuses Abby of drinking ‘a charm to kill John Proctor’s wife’ (Act 1) and lying about it.

Mary Warren is a simpler soul who seems genuinely caught up in the hysteria of the girls. She is the Proctors’ new maid and as such, delivers updates to them about the happenings in the court, allowing the audience to see how wrapped up in the ‘weighty work we [the girls] do’ (Act 2) and how easily they become drunk on the power. Uneasy in conflict, Mary has always been the weakest of the group, petrified from the beginning of the punishment, desperately trying to convince the others to admit that they danced. Her shift from one side to the next throughout the play foreshadows the eventual travesty, that she will inevitably dishonour the truth and condemn Proctor at the last minute in order to save herself from the rope.

The Dressmaker

Tilly (myrtle) dunnage.

Tilly (Myrtle) Dunnage is the glamorous outcast and the novel’s protagonist. As a child, she was banished from her hometown of Dungatar after the townsfolk believed she had murdered a fellow school student Stewart Pettyman. From her unhappy education at a school in Melbourne, Tilly ‘ran away… to London… then Spain, Milan, Paris’ (Part 2) and learnt the skill of creating haute couture outfits, training under the prestigious fashion designers in Europe.

Tilly offers the small-minded women in Dungatar the chance to transform themselves but this does little to alter their petty meanness and judgmental behaviours. Having experienced the world outside the parochial limitations of Dungatar, Tilly is worldly and understands the power of creativity and flair. Likewise, she is confident in her own ability and is not threatened whatsoever when she ‘see[s] there is a new seamstress in town’ (Part 3), Una Pleasance.

Despite the promise of promotion in Europe, Tilly is drawn back to her childhood home to care for her mother who in her absence has become a ‘skeleton’ (Part 1) with ‘sunken eyes’ (Part 1) and a mouth like a ‘charcoal hole’ (Part 1). Tilly navigates her mother’s madness expertly, treating her with a healthy dose of tough love as she cleans up both the decrepit residence atop The Hill and also the woman that the townsfolk have been referring to as ‘Mad Molly’ (Part 1). No task is too revolting or confronting as she ‘evicts snug families’ (Part 1) of pests from the house, cleans her mother’s dentures and ties her to the outside toilet with the rope of her dressing robe to avoid her wandering off. Although the relationship between mother and daughter is strong, Tilly, like many children of elderly and eccentric parents, resorts to sarcasm and derision as a coping mechanism. Mother and daughter banter back and forth but their reciprocal devotion for one another, albeit bruised, is evident. In the final chapters, Tilly’s adoration for her mother who endured so much hardship is still present and their commitment to one another is cemented when Teddy passes away and Tilly ‘got on her knees in front of her mother and buried her face in her lap… Molly stroked her head fondly and they wept’ (Part 3).

Tilly’s reluctance to become involved with her childhood friend Teddy derives from a belief that she is ‘cursed’ (Part 3) and that should she become involved with anyone, it would be to their detriment. Tilly believes that her actions as a child and the unfortunate death of Stewart Pettyman plagues her and this notion is precipitated by the townspeople who treat her with disdain and suspicion. Her belief in her ill-fated luck is only confirmed when she loses her own son Pablo, who she finds dead in his cot at seven months, whilst still living in Paris. However, Tilly’s strength of will is to be admired. Her devotion to her mother, her acceptance of those such as Sergeant Farrat and Barney McSwiney show her to be a woman of tolerance who has felt the brunt of societal stigma and is keen to be a far more accepting member of the town. Although the sudden loss of Teddy and her mother shake her resolve and she is at risk of being propelled along the same path as Molly, she dismisses the bitterness that begins festering inside her and channels an inner discipline and conniving spirit that allows her to wreak a havoc that provides satisfying revenge.

Tilly (Myrtle) Dunnage Quotes

Little Myrtle Dunnage had alabaster skin and her mother’s eyes and hair. She seemed strong, but damaged. (Sergeant Farrat upon seeing Tilly again as a grown woman) Part 1

‘It’s not that – it’s what I’ve done. Sometimes I forget about it and just when I’m… it’s guilt, and the evil inside me – I carry it around with me, in me, all the time.’ (Tilly speaking to Teddy about the affect her past has on her) Part 2

Bitterness rested on Tilly’s soul and wore itself on her face. (after Teddy’s death) Part 3

‘Well then I’m afraid you’ve made a mistake,’ said Tilly. ‘ I’m a qualified tailoress and dressmaker. You just need someone handy with a needle and thread.’ (Tilly to Una Pleasance) Part 3

She could tie up the loose ends, leave, go to Melbourne, take a job with the traveller who’d visited last autumn. Yet there was the matter of the sour people of Dungatar. In light of all they had done, and what they had not done, what they had decided not to do – they mustn’t be abandoned. Not yet. (Tilly considering to herself after Teddy and Molly have passed and she is on her own) Part 3

Molly Dunnage

Molly is first introduced to the reader through the eyes of her daughter, Tilly. She lives in a small shack on The Hill, an overwatch for the village that ‘was dank and smelled like possum piss’ (Part 1). At first, Molly is reticent to have her daughter help her and this is primarily because, despite missing her terribly, Molly had always hoped that her only daughter ‘wouldn’t come back to this awful place’ (Part 3).

Molly’s appearance is haggard, her ‘wayward grey hair’ (Part 1) and scrawny features belying her as a nervous, scattered woman suffering the first affects of dementia. Despite her mental infirm, Molly still has a fighting spirit and a wicked sense of humour, providing comedic relief to parts of the novel and teasing Tilly by constantly referring to her as her ‘captor’ (Part 1). Molly’s crudeness and impropriety is renowned and a constant cause of embarrassment for Tilly, such as when Molly insults the three visiting women from Winyerp with ‘there’s a bunch of old stools from out at fart hill trespassing out here’ (Part 3) and Tilly makes an attempt to disguise her mother’s incivility to the visitors – ‘can I help you… the ash is very good and we get the sun up here’ (Part 3). Nevertheless, Molly understands far more about the town dynamics then anyone, predicting the damage of the rumour mill – ‘you can’t keep anything secret here… everybody knows everything about everyone…’ (Part 1).

Despite the heartache, Molly is a kindly woman who makes cakes laced with drugs to alleviate Irma Almanac’s pain – ‘Irma felt light…she could hear her bones scraping inside her body but they no longer hurt and the aching had stopped’ (Part 2) and tolerates the simple-minded Barney McSwiney. She is staunchly proud of her daughter Tilly and her skills in dressmaking and the women share an affinity for creating things to enhance the dull life they find themselves in.

However, the sad story of ‘Mad Molly Dunnage’ is not known until the latter half of the novel when it is revealed that she got pregnant to Evan Pettyman and because she wouldn’t give her baby (Tilly) away, ‘I [she] had to leave my [her] home and my [her] parents’ (Part 3). But her humiliation was not complete there, Pettyman ‘came after me [her] and used me [her]’ (Part 3); in turn for this privilege, he supported Molly and Tilly in early childhood.

When Evan and Marigold’s only child Stewart died, Tilly had to be sent away. Molly’s admittance that she ‘went mad with loneliness’ (Part 3) for the loss of Tilly means she is seen as a character that evokes great sympathy – she has lost everything and had no where to run away to so living atop The Hill in squalor amidst rumour and prejudice became her only option.

Like many of the woman from Ham’s text, Molly is a product of her circumstances and is subjected to ridicule and insult unfairly; unlike Pettyman (the elected town councillor) who was just as much at fault for the illegitimacy of Tilly’s birth but escapes their wrath because of his gender and status.

Molly Dunnage Quotes

She [Molly] gestured at a crowd of invisible people around her bed. (When Tilly arrives and first sees her mother, she is shocked at how mad she is acting) Part 1

As food has nourished her body and therefore her mind, some sense had returned to her. She realised she’d have to be crafty, employ stubborn resistance and subtle violence against this stronger woman (Tilly) who was determined to stay. Part 1

‘Dunny’s mum’s a slut, Dunnybum’s Mum’s a slut.’ (Stewart Pettyman and the other school children tease Tilly as a child) Part 1

‘She has good days and not-so-good, but she’s always entertaining and things come back to her from time-to-time’. (Tilly talks to Farrat about her mother) Part 2

‘…we’re used to being badly treated.’ Part 3

Sergeant Horatio Farrat

Horatio Farrat was raised in inner city Melbourne that may explain his more open-minded approach to the town’s goings-on. His posting to the remote town of Dungatar was an urgent response to him approaching his superiors in the Metropolitan Police Force with patterns and swatches of a design for a new and improved police uniform. Naturally, he was swiftly reassigned to the community of Dungatar where he kept to himself, ‘settled at his Singer, pumping the treadle with stockinged feet, and guided the skirt seams beneath the pounding needle’ (Part 1) rather than attend the weekend football game. He is a kind character, who allows the guilt of sending Tilly away when the Pettyman boy died to riddle him and become the motivation for his befriending Tilly.

A complex character that is immediately attracted to ‘little Myrtle Dunnage’ (Part 1) and her perchance for fashion yet he is the first to observe that despite her guise, Tilly has returned to Dungatar ‘strong, but damaged’ (Part 1). Their affinity with fashion and the concept of transformation gives Farrat the confidence to emerge as a cross-dresser in a town that would undoubtedly shun his oddity instead of embrace him like the cosmopolitan Tilly does. The burden of holding this secret to himself explodes when he is in the presence of Tilly as ‘he clutched it to his heart and ripped the brown paper apart and freed yards of brilliant magenta silk organza’ (Part 2), before checking himself, his face reddened ‘appalled by his abandonment’ (Part 2). But with Tilly, Molly and even Teddy, Farrat finds a safe space to admit his skill with sewing and stitching. In return for their acceptance, when Molly and Teddy die, Farrat omits Tilly’s role in Teddy’s unfortunate accident and uses the burial as a platform to lecture the townsfolk in their treatment of outcasts, reminding them that they loved the outcast Teddy and therefore should try and find it within themselves to love another outcast – Myrtle Dunnage, just as Teddy had loved her.

Despite his attempts to make amends for his actions, Tilly remains unforgiving and Farrat re-groups with the other townsfolk to watch their town burn, and with it, all the frocks and fabrics he had cherished so secretly.

Sergeant Horatio Farrat Quotes

They [the townsfolk] were used to the sergeant’s bachelor ways; he’d often purchased materials for tablecloths and curtains. Muriel said he must have the fanciest linen in town. (Gertrude when Sergeant Farrat buys a bolt of blue gingham fabric from the Pratt’s General Store) Part 1

‘I don’t care, Tilly,’ he said. ‘I’m beyond caring what those people think or say anymore. I’m sure everyone’s seen what’s on my clothes line of the years, and I’m about due to retire anyway.’ (Tilly confirms that Farrat wants to attend Molly’s funeral in a black knee-length frock) Part 4

Evan Pettyman

‘Dungatar’s richest man’ (Part 3), Town Councillor Evan Pettyman is Tilly’s real father. We learn about his mistreatment of Molly later in the novel when it is revealed that upon getting her pregnant and coming to live in Dungatar, Evan ‘used me [her]’ (Part 3) in exchange for him keeping the two women, until the untimely death of his only son Stewart causes him to become vindictive and force Farrat to take Tilly away to a reform school in Melbourne.

Evan is a known philanderer who drugs and mistreats his wife, while scandalously parading with other women. His most recent affair is with Una Pleasance, the new dressmaker in town and direct business adversary to Tilly. His wife Marigold murders him viciously and upon inspecting the house, Farrat discovers a cornucopia of filthy movies and photos as well as illicit drugs in the house.

Marigold Pettyman

Marigold has compulsive OCD (Obsessive Compulsive Disorder), which was precipitated by the sudden death of her only son, Stewart. Marigold’s preoccupation with people leaving footprints on her bi-daily washed floor and the possibility the visitors might ‘leave fingerprints on her polish’ (Part 3) blinds her from seeing the truth of her horrid husband Evan. But her insistence of having Tilly make her a dress ‘better than everyone else’ (Part 4) means that like all the other townswomen, Marigold is vain and competitive.

Once reminded of Evan’s impregnation of the sweet Molly Dunnage and how he manipulated the blame of his son’s death to land on Tilly, Marigold’s repressed memories come flooding back and she goes on to seek terrible revenge on Evan. The reader’s initial perceptions of her as weak and mentally unstable are only suspended for a brief moment as she callously leaves her husband in the kitchen of their house bleeding out and she concocts a draught of a half bottle of her sleeping tonic and sherry in an attempt to end her own life.

Stewart Pettyman

A school bully, who relentlessly teased Tilly Dunnage when they were children and in an effort to wind her by running toward her like a bull, died by slamming his head into the wall. Even as a child, his vileness was evident as he often called her a ‘bastard’ (Part 3) and Edward McSwiney (Teddy’s father) recalled ‘your [Evan’s] Stewart [he] had the poor little thing [Tilly, Myrtle as was] cornered beside the library…’ (Part 3). The progeny of Evan, it is not hard to imagine the young boy as a brute bully who made Tilly’s childhood a living nightmare, in the same way as his father destroyed Molly’s life.

He is dead when the novel begins but is the reason why Tilly had been sent away from Dungatar. Any information we learn about him is in retrospect.

Teddy McSwiney

Despite his family’s status as outcasts, Teddy is the much-loved son of Dungatar. Captain of the local football team, his rambunctious ways seem to charm most of the residents. His involvement with ‘the card game on Thursday nights and two-up on Fridays… organising the Saturday night dances, owning all the sweeps on Cup Day and the first to raffle a chook if funds were needed’ (Part 1), Teddy was additionally ‘cheeky, quick and canny’ (Part 1) and incredibly kind to the undeserving townsfolk of Dungatar. His devotion to caring for Barney, his brother and inheriting some of the responsibility for feeding his impoverished siblings, Teddy takes it upon himself to care for Molly in Tilly’s absence. He is thrilled for the return of his school friend Myrtle and for weeks on end at the beginning stages of Tilly’s return, he delivers yabbies, eggs and Murray cod fillets to feed the ladies who had yet to establish a healthy income and avoided venturing into town for fear of ridicule. He even delivers a ‘freshly scrubbed’ (Part 1) wheelchair to The Hill for Molly’s use, a testament to his kindly nature.

His logical approach to Tilly’s soiled reputation is refreshing but Tilly is unconvinced that things are that easy and that all can be solved by ‘have[ing] a big wedding in Dungatar’ (Part 2). His flippancy is born of a naivety about the world and although at first Tilly finds this charming, she is reluctant to enter into a relationship because she does not want to tarnish his reputation as he aligns himself to the ‘murderess’ (Part 3). In his attempts to release her of this notion and to convince her that she is not cursed, Teddy childishly dives into what he believes to be a wheat silo to reinforce his devotion to her but sinks in the grain and dies by suffocation.

Teddy McSwiney Quotes

‘Girls like her [Tilly] need a bloke like me about.’ (Teddy speaks to Molly about wanting to go on a date with Tilly) Part 1

‘I can look after you… that is, if you want me to.’ (Teddy’s proposal to Tilly) Part 2

He could sell seawater to a sailor. (Teddy’s entrepreneurial skills) Part 1

She [Tilly] thought about Teddy McSwiney, and wondered if the rest of town would be as friendly. Part 1

‘…we’d jump into the grain trucks as they pulled out of the loading dock then stay on top of the wheat until we crossed the creek, where we’d jump in…’ (Teddy moments before he dies) Part 2

But it wasn’t a bin brimming with wheat. It was a bin filled with sorghum…. And Teddy vanished like a bolt into a tub of sump oil and slid to suffocate at the bottom of that huge bin in a pond of slippery brown seeds like polished liquid sand. Part 3

Barney McSwiney

Teddy’s younger brother, Barney, is considered an outcast amongst the community due to him being ‘… not quite finished… crooked, with an upside-down head and a crooked foot’ (Part 1). Despite his slow-mindedness, Barney is loyal and although he lacks the means to effectively communicate, he understands a lot more than people give him credit for. Although not fully understanding why, Barney is sensitive to the town’s aversion to Tilly and when her name is scribbled out on the table list at the town’s social gathering, he childishly writes his and her names at the bottom of the list in an effort to include her.

Barney is understandably distraught when Teddy dies; he’s lost his brother, best friend and someone who promised to always watch out for him. He leaves town with his family after Teddy’s funeral, leaving the family cow and a handful of chickens on Tilly’s doorstep as a gesture of peace between them.

Barney McSwiney Quotes

‘Mum says I’m not quite finished. Dad says I’m only five bob out of ten.’ (Barney explaining himself to Tilly) Part 2

She [Tilly] stood unsteadily and held out a hand to him [Barney] but his mouth screwed open and he turned and stumbled away, yowling, holding his arms across his chest. (The final time Tilly sees Barney after Teddy’s death) Part 3

Una Pleasance

A rival dressmaker that arrives in Dungatar; for a time the women prefer using Una as their tailor but her commissioned dresses lack the finesse and speciality that Tilly’s creations do – ‘…no one was ever displeased with anything you [Tilly] made them here, not like that Una…’ (Part 4). She has an affair with Evan Pettyman that ends quickly as Marigold discovers them and murders her husband.

Mr Percival and Mrs Irma Almanac

Being the town chemist, Mr Almanac has access to the citizens’ medical history and as such, believes he is in a more lofty position then the other residents. Ironically, advanced Parkinson’s disease has left him a ‘curved, mumbling question-mark, forever face-down…’ (Part 1) who comically bumps into most things in his shop and most people who roam the main street are wary of his ‘balding head’ (Part 1) hurtling toward them with unstoppable momentum.

Despite his comical relief throughout the novel, he is known to have beaten his wife Irma senseless and although as his condition worsened, her ‘injuries ceased’ (Part 1), the beatings haunt her and she is riddled with the guilt her husband plies her with, believing her to be a sinner and deserving of his violent wrath. Despite the hypocrisy of his claims, her husband believes it is her own sins that have crippled her thusly, and refuses to medicate her pain leading her to resort to eating food that Molly provides her that is laced with narcotics.

Her husband’s sinister methods of dealing with the medical afflictions of the townsfolk leave readers questioning his qualifications in pharmacy, choosing to treat any ailment with the ‘contents of his refrigerator’ (Part 1) and taking it upon himself to punish loose women – this is seen when Faith O’Brien attends the chemist with a vaginal itch brought on by promiscuity and he prescribes ‘White Lily abrasive cleaner’ (Part 1) in disguise. A pious man who embodies the traditional ideology of an aged era – ‘[Drugs are] addictive… all that’s needed is God’s forgiveness, a clean mind and a wholesome diet, plenty of red meat and well-cooked vegetables’ (Part 1).

In a freak accident, Mr Almanac drowns in the small creek in the back yard of his home. As he is retrieved from the mire by Sergeant Farrat, he forms a grotesque image with ‘yabbies’ clinging to his ear lobes and leeches hanging from his lips’ (Part 4).

In her older years, his wife Irma is riddled with arthritis but is still relied on by farmers as a means to predict the weather – a superstition that is not extraordinary in small rural towns.

Miss Prudence Dimm and Miss Ruth Dimm

As the schoolteacher of all the children in Dungatar, Miss Dimm is not thought of fondly, especially by Tilly who remembered her to be a nasty woman who bullied Tilly as a child – ‘Miss Dimm came, cuffed Myrtle [Tilly] over the head and dragged her from the room by her plait’ (Part 2). Typical of a small town, in addition to being the Dungatar teacher, Prudence also held the station of being librarian on Saturday mornings and on every other Wednesday.

Her sister Ruth, another meddlesome woman, works at the post office and telephone exchange and thinks nothing of opening Tilly’s mail and snooping around to unearth information on the other citizens of Dunagatar. Her taboo affair with the pharmaceutical assistant Nancy Pickett is ignored with most of the women refusing to acknowledge the possibility of a lesbian relationship in their midst.

Beula Harridene

Beula is the atypical sticky-beak that every small town has – relentless in her pursuit of gossip and hearsay, thriving off being a loud busybody that is difficult to please. As she lives a decidedly dull life herself, she finds pleasure in creating drama with others’ lives and is a problematic citizen to Sergeant Farrat who must constantly deal with her meddling complaints to him as the law in town. At times, Beula is more like a petulant child then a grown woman, ‘stamped[ing] her feet’ (Part 1) with disappointment that Tilly has returned to town. She is full of nervous energy, constantly ‘hopped[ing] from one foot to the other’ (Part 1) in an action that Farrat suspects is due to her being buck-teethed and therefore ‘starving… malnourished and mad’ (Part 1).

Gertrude (Trudy) Pratt

Beginning the novel as a shy girl who works diligently behind the counter of her parent’s general store, she is transformed by Tilly’s creation for her and insists her ‘gown’ (Part 2) will cement William’s affection for her and erase any suspicion that he was only marrying her because she was pregnant to him. Her ‘dark chestnut locks… swept up in a poised wave’ (Part 2) and ‘the bodice… wrapped firmly about her waist and snugly around her hips…’ (Part 2) is a sharp contrast to the ‘full-faced girl with [the] soft brown eyes’ (Part 2) who worked at the smallgoods counter of her father’s store and made every attempt to woo William by reapplying red lipstick in his presence and speaking in breathy tones.

Once this transformation has occurred, Gertrude (not unlike Tilly) changes her name to Trudy to symbolise her new self and insists everyone, including her family and new husband call her this. Interestingly, Ham is careful to remind us that glamour is fleeting as ‘pregnancy had added almost three stone to Trudy… her face had swelled… [and] fluid bobbed about her stern like lifebuoys of rough waves…’ (Part 2).

Power and ambition play havoc with her inherent ambition to elevate beyond her ranks and she becomes and casualty of these ambitions. By manipulating William into a hasty marriage, they grow further apart from one another until William finally admits over a drink at the bar that ‘I [he] don’t’ [doesn’t] really love my [his] wife’ (Part 3) to which the reply is ‘you’re [he’s] not alone there.’ (Part 3) Trudy is barely tolerated by her husband and his family, becomes an embarrassment to her father and mother and, rightfully, plays a dedicated portrayal of evil Lady Macbeth in the town play.

Gertrude (Trudy) Pratt Quotes

At home, Tilly sat by the fire with a glass of beer and a cigarette, thinking about her schooldays with dumpy little Gertrude who had to wear extra elastic in her plaits because her hair was so thick. Part 2

She let the tea-coloured silk negligee slide over her chilly nipples and looked in the mirror again. ‘I am Mrs William Beaumont of Windswept Crest,’ she said. Part 2

Trudy stepped close to Elsbeth and, leaning down over her, yelled, ‘ You’re always telling me what I can’t do. I can do anything I want.’ (Trudy as the play director) Part 4

Elsbeth Beaumont

Elsbeth is a controlling woman who resides outside of Dungatar on her husband’s farm. Despite her having high hopes that her ‘travelled… worldly’ (Part 1) son William will ‘need to look much further than here to find suitable companionship’ (Part 1), he gets Gertrude Pratt pregnant and there is a hasty wedding to disguise their infidelity.

Predictably, she and her daughter-in-law Gertrude argue about most things and when it is established (albeit foolishly) that the cast of the Eisteddfod no longer require Elsbeth’s funding for the play, she exits the novel calling the residents ‘a bunch of fools… half-wits… uncouth, grotesque and common…’ (Part 4) in a sudden barrage of truths.

William Beaumont Junior

William, an eligible bachelor in the Dungatar town, returns from agricultural college in the first half of the novel. Although Gertrude is originally infatuated with him, William is relatively ambivalent toward the ‘girl leaning over a bin shovelling chaff into a hessian sack’ (Part 1) and believes a man who has ‘mixed in society’ (Part 1) will be able to snag a wife from better circles than the Pratts. William, typical of many young men of the era is pressured to be successful and his mother reminds anyone that will listen that he must ‘work towards our [his family’s] future’ (Part 1) but self-doubt overwhelms him and although he toys with the idea of Tilly as a potential match, in an effort to lose himself in blissful oblivion, he and Gertrude sleep together and a hasty marriage much ensue. Interestingly, in the Eisteddfod, William is cast as King Duncan in the Scottish play, a role of the great King that is betrayed by his loyal friends and dies in the first act.

William Beaumont Junior Quote

‘My future,’ muttered William determinedly, ‘I will make a life worth living here.’ Then self-doubt engulfed him and he looked at his lap, his chin quivering. Part 1

Muriel and Alvin Pratt

The Pratts are owners of the Pratt General Store, the mercantile shop in the centre of Dungatar. Alvin was said to have ‘a courteous manner, but he was mean’ (Part 1) and this is probably why he was not liked by the townsfolk and they usually turned their backs on him. He refers to his daughter as a ‘great calico bag of water…’ (Part 1) and exhibits very little affection toward her throughout the rest of the novel.

His wife Muriel is a pushy snob. She is a meddler and an opinionated gossip who, despite her husband’s insistence that there’s no ‘chance of unloading her [their daughter, Gertrude] to anyone’, pushes her daughter to attend the dance on Saturday in hopes to strike a connection with the town’s newest bachelor, William Beaumont.

Muriel and Alvin Pratt Quote

‘This is the Pratts’ store,’ said Lesley, breaking the trance. ‘The only supply outlet for miles, a gold mine! It’s got everything – the bread monopoly, the butcher, haberdashery, hardware, even veterinary products…’ (Lesley introducing the town to Una) Part 3

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