english literature a level sample essays

Derek Walcott — A-Grade A-Level Literature Essay Example

One of my students completed this essay on Walcott recently for the CIE / Cambridge A-Level Literature Exam Board.

It received a borderline A grade (80%, 20/25) — there are some absolutely brilliant parts of it, and also some aspects which have room for improvement, so I’ve put my mark breakdown and suggestions for how to improve next time at the end of the exemplar too for you to read through. Hope it’s useful!

If you find this resource helpful, you can take a look at the full Walcott poetry course .

I have a lot of Derek Walcott’s poetry analysis, so be sure to check it out too by clicking this link .

THE QUESTION:

Walcott has said that the process of poetry is ‘one of excavation and of self-discovery’. How far do you see this process in his work? In your answer, you should refer in detail to three poems.

Much of Walcott’s poetry displays excavation and self-discovery through the exploration of themes such as nature, the environment and politics. By holding up a mirror to the issues surrounding these themes, Walcott arguably recreates the past and present as a form of excavation. Within his examination he is able to ignite an awareness for the reader, around the issues of slavery, post-colonialism and urbanisation. This awareness arguably awakens the reader to self-discovery, through being informed on the aforementioned issues. Likewise, by speaking of these issues, Walcott himself is also examining his own frustrations and expressing these views through his poetry.

With reference to the poem, ‘Ebb’, Walcott sets out to explore the theme of urbanisation and its harmful effects. The environment takes centre stage and is heavily prominent throughout each stanza. For instance, the first verse of the poem describes the endless cycle of how the earth is scorched and ‘fretted’ upon, how the earth resembles a ‘frayed hide’. The verb, ‘fretted’ refers to how the land has been tampered with and spoiled, and the adjective of ‘frayed’ shows the violent extent to which this has happened. Lastly, the noun, ‘hide’ is used as a metaphor for a heavily lashed animal hide. The use of this visual imagery effectively connotes how human greed disrespects nature. This is arguably because Walcott strongly believed that since the Caribbean islands left the federation and became independent islands like Jamaica, and Trinidad and Tobago in 1962, and Walcott’s own native island, Saint Lucia in 1979, they all suffered a lack of unity among the Caribbean as a whole. In turn this led islands to be exploited for commercial greed. Another example of this can be found in the line, ‘rainbow-muck’, which again is a metaphor used to describe oil. Of all of the Caribbean Islands, Trinidad and Tobago is renowned for its copious oil supply, yet the island itself appears not to prosper from it. Rather, the wealth generated from it is passed directly into the pockets of other countries. Walcott further criticises the effects of urbanisation by portraying nature as victim with the image of an ‘oil-crippled gull’. Again ‘oil’ is used a symbol of urbanisation and greed, while the adjective of ‘crippled’ represents the damage caused. Through the use of powerful imagery denoting the destruction of nature, the reader is made to feel informed and aware of the issues raised.

In the poem ‘Veranda’ Walcott reconnects the reader to past and vividly turns his spotlight on the plight of slavery and colonialism, by vividly tying a link from past to present through language featuring ghosts and apparitions. From the second stanza a reference is made to slavery with ‘planters’ whose ‘tears’ are described as ‘marketable gum’. The noun, ‘tears’ laments the pain and suffering endured by the slaves to then be exploited as ‘marketable gum’ The noun, ‘gum’ is used as a triviality, something insignificant to be consumed by the masses, to then be spat out tasteless on the ground. This visual image strongly reflects the facelessness of greed and acknowledges the pain and toil to bring about such a triviality. Another ghost described is that of the ‘colonel’ whose heart is ‘hard’ as the ‘Commonwealth’s greenheart’. The colour ‘green’ with reference to the ‘greenheart’ could connote the colour of money and also represent envy for riches. Also the colonel himself, described as ‘hard’ is a fitting image of colonialism, for they enslaved the ‘planters’ without conscience. With this poem Walcott eerily describes the sins of history’s ugly past, presenting them as ghosts either in despair or still power-hungry. Walcott argued that British colonists took away Africa’s history and the colonisers themselves argued that they had no history before their presence there. This is why Walcott frequently opposes colonialism in his poetry, to raise awareness of the wrongs of the past and show that much African culture and history very much exists. Through painting a portrait of the past, Walcott arguably shows the reader the unflinching truth of what came before. This in-turn recreates the past and educates the reader on the former ills of slavery and colonialism.

With reference to the poem, ‘Parades, Parades, Walcott arguably demonstrates his use of excavation by hovering his lens over the theme of Caribbean politics. Consisting of two lengthy stanzas, the first, written in third-person, offers abstract imagery, such as a ‘wide desert’ that ‘no one marches’ and a vast ‘ocean’ of which ‘keels incise’. The adjective of ‘wide’ arguably paints an image of empty sparseness and the second person pronoun, ‘no one’ refers to loss of identity pertaining to the ills of post-colonialism. The verb, ‘marches’ could also symbolise a stagnant lack of progress for the Caribbean as a whole. The noun, ‘ocean’ refers to beautiful Caribbean beaches, only to then be ‘incise’(d) by the luxury liners filled with indulgent tourists. Walcott also cites the politicians who ‘plod’ devoid of ‘imagination’. Again, the active verb of ‘plod’ connotes the sluggish progress made to better the Caribbean and the abstract noun, ‘imagination’ paints the politician as dull and backward thinking. The second stanza then shifts tonally with a volta, and also to a first person plural, addressing the Caribbean locals, belonging to the parade. Walcott questions why they should have propaganda ‘drummed into their minds’ and why they should be made to feel ‘shy’ and ‘bewildered’. The stative verb of ‘drummed’ portrays the idea that people have been force-fed political ideas which do not hold their best interests in mind. The abstract noun ‘shy’ also connotes that they have been led astray and exploited. Walcott clearly demonstrates his ideas about ineffective politics by confronting the issues and in turn dismantling them in order to present them in a new light. This arguably informs the reader of the political injustice and also offers a sounding board for Walcott himself to air his frustrations.

While it could be argued that Walcott’s poetry doesn’t show evidence of the excavation process or self-discovery, owing to the sometimes abstract and esoteric manner in which he presents his work, there appears to be clear evidence pointing to the opposite. With the cynical and retrospective tone that seems to dominate his poetry, there appears to be compelling evidence that he is shedding light on the themes of politics, slavery and post-colonialism, by confronting the ills they caused, and in turn allowing the audience, and himself to re-discover the toil they have brought about.

GRADING (CIE Cambridge Mark Scheme)

Band 2 20/25 80% Borderline A Grade

Evidence of proficiency in selecting relevant knowledge to address the question with precise and integrated direct references to the text and supporting quotation. There may be evidence of awareness of the contexts in which the literary works studied were written and understood. U Evidence of intelligent understanding of ways in which writers’ choices of structure, form and language shape meanings, with analysis and appreciation of literary methods, effects and contexts.

P Evidence of personal response to the texts, relevant to the question, supported from the text, some originality of thought, straightforward and vigorously articulated, perhaps, rather than penetrating and subtle.

C Expression confident, with some complex ideas expressed with some fluency. Structure is sound. Literary arguments will be coherent, with progression of ideas through clearly linked paragraphs.

O Considers varying views and argues a case with support from the text. – This is the main one you’re lacking in, you don’t argue a case clearly or consider varying views .

HOW TO IMPROVE:

• Make sure to address the question argumentatively or discursively (depending on the type of question) — rather than each paragraph is about a poem, make it about a point that answers the question, all linked together with a clear thesis
• Alternative interpretations / critical theories — use these to develop your analysis further and achieve greater sensitivity of interpretation
• Needs more specific, detailed use of contextual ideas
• More structure/form points — good on language

Thanks for reading! If you found this resource helpful, you can take a look at the full Walcott poetry course .

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A-Level English With Miss Huttlestone

A FULL MARK ‘The Handmaid’s Tale’ Essay

The following essay, penned by Heidi in year 12, captures the essence of the top band – it is developed, has true voice, and supports each ambitious idea with extensive textual evidence. Heidi’s knowledge of theorists, and her passion for debate adds enviable flair to the response .

‘The Handmaid’s Tale’ is not primarily about the suppression of women but about their defiance. To what extent to you agree?

‘The Handmaid’s Tale’ is a piece of speculative fiction about both the extensive oppression of women and their attempts to defy it, however their attempts exist in accordance with the misogyny that existed in the time before Gilead and this greatly limits the effectiveness of it. As philosopher Christopher Lasch would say, their protest is incurvatus in se or turned inward. This means that the protest throughout the narrative is lacklustre and far more about the actualisation of the self than the organised movement against total oppression. Atwood’s writing in the era of Reganism, where the rights of women were being pushed back against and thus the narrative reflects the internalised misogyny that each woman possessed via social conditioning that lowers one’s ability to protest effectively. Characters who defy do so by becoming more masculine as the culture hegemonic standard is that men are strong, and women are weak that existed long before Gilead came to be. Atwood seems to say with the lack of effective protest that the suppression of women existed before, it harmed women before, and it will continue to do so unless far greater pushback is made.

Firstly, the character of Serena Joy is created such that her defiance comes from her personal brutality and masculinisation of the self. She is a character who smokes, a recurring motif seen in all protesting characters, however smoking itself is seen as a masculine trait throughout history, with instances such as the Nazi regime totally banning smoking for women when they came to power. Further, the image of a cigarette is incredibly phallic, and the fact that this phallus is used as a semiotic representor of protest reflects the nature of such an act for women. They see no other alternative but this masculine object to use as their defiance, the social conditioning from year of demonisation of feminine power stemming long before Gilead has run so deeply into the psyche that the characters look for a phallic object to protest using. Serena, in her smoking is described by Offred by putting ‘the cigarette out, half-smoked, decisively one jab and one grind’, this imagery is violent, it is the pressing of the cigarette downwards and crushing of its end. The use of the repetition of the determiner ‘one’ creates the imagery of conclusion, she has done this action before and she is used to pushing the cigarette out, she needs no further courses of action. These traits embody the stereotypical masculine, she has decisiveness and not the stereotypical questioning femininity that has been so greatly propounded by wider society. This line also relates to Offred later recognition that she must ‘steel herself’ when partaking in the ceremony, Serena seems steely here, she seems solid, she seems in practise and almost robotic. Further, the way Serena acts is told to be opposing those in in the same social class as her and Offred goes on to say that they ways she puts out her own cigarette is different to the ‘many series of genteel taps favoured by many wives’. Not only does this quote indicate that there is protest and the taking up of black-market objects across the female hierarchy, but it separates Serena and solidifies her as a far more masculine and expectation defiant character. The other wives are dainty and adhere to gender norms that were present pre-Gilead, their actions are graceful and ladylike, they are far more the ‘Angel in the House’ than Serena seems to be. In addition to this, to tap a cigarette is to remove the ash, presumably a fully smoked one, since the Wives cannot work they are reliant on their husbands for the money to buy the black-market cigarettes, yet Serena disrespects this, her cigarette is wasted. She defies the view of ‘waste not want not’. Atwood has stated previously that there are droughts and struggles to get things into the regime, but Serena does not care, her protest here is one of apathy. She removes herself from the feminine doting stereotype who cares over all small details. The character of Serena Joy is one of two opposing sides, on the one hand she is the defiant strong masculine woman who acts aggressively and appositionally, yet her protest is about becoming a man more than it is becoming a defiant individual. She is far more preoccupied with masculinising herself to remove from the expectation of women than fostering true escape from Gilead. This makes her character one entangled with both the suppression of women and the feminine and the defiance of expectation. 

Moreover, ‘The Handmaid’s Tale’ presents the extent that misogyny invades the self through the internalisation of Gileadean and pre-Gileadean ideas of women and stereotypes. Throughout the novel, the ideas of Gilead are presented through the character Aunt Lydia, who remains a construct within the mind of Offred until the near end of the book. In turning the character in to a construction, Atwood is able to expertly show just how pervasive and condemning misogyny is to the minds of women, just how easily it finds itself inside the heads of those it infects. She uses no quotation marks around Aunt Lydia’s remarks to emphasise the degree at which it has been absorbed into each person. ‘Yours is a position of honour, she said’ is something Offred repeats in her internal narrative within the story. This idea has embedded itself in the protagonist and she speaks of how her ‘flesh arranges itself differently’ and she is less a woman and more of a ‘cloud’. Through this metaphorical imagery, the reader is shown the degree at which Gilead breaks the psyche of women. Offred is within Gilead to the point at which it ahs changed her flesh entirely and is no longer herself, no longer bodily autonomous. To include this detail, Atwood creates the impression that the ideas of the patriarchy imbed themselves so deeply within the women subjected to them that they gain the ability to almost change their existence and self-perception entirely. A feminist reader would conclude from this that the character of Offred is one afflicted with internalised misogyny, she becomes her own oppressor and the oppressor of those around her due to her social conditioning. This is backed up by the recollection of a session within the Red Centre that was reflective of the struggle sessions of Maoist China where in abuse was shouted at a central, labelled dissident – in this case Janine. She says that ‘We meant it’, the ‘it’ in reference to the psychological attacks levied against the rape victim, yet she refuses to label it such due to well-placed shame, replacing it with a mediator, replacing it with the innocent and decent sounding ‘it’, she attempts to remove herself from her own actions. In using a collective pronoun, she is implicating the entirety of the Handmaidens who were with her in this abuse, she acts as though she understands their thoughts and in many ways she likely does as they were all put through the same cycle of abuse. It also creates the idea of togetherness and sisterhood; however, this is sisterhood that has been manufactured by the state to abuse someone, it is sisterhood that exists because of women coming together to attack another. So often in the modern media, women are pitted against one another and there seems a great manipulation to make them hate each other. This sisterhood is contrived, it is there because Gilead understands that they must give these women a slight amount of togetherness, so long as it is to attack another individual. This defiance here is a reflection of the patriarchy.

Despite this internalisation, there are many instances of the creation of distinction between us and them within the narrative. Although much of what Aunt Lydia has told Offred is presented uncommented on and internalised, we are still seen some instances of the opposition to her word such as the criticism of her cherry picking of the Bible verse ‘Blessed are the meek’ and her decision to not ‘go on to say anything about inheriting the earth’. The Bible verse blessed are the meek was debated in DH Lawrence’s novel ‘The Rainbow’ wherein his defiant female Ursula character criticized the term due to the connotation it holds that you must be poor and weak to be ‘blessed’ by God. Her character believed that this term is used to satiate the poor and those in unfortunate positions. In many ways, Aunt Lydia’s statement of this term represents that, she is trying to say that the women are weak and must stay ‘meek’ to be drawn under God’s Grace, however Offred unpicks this and criticizes her use of the term in the fact it has so clearly been cherry picked for this purpose. It is meant to satiate the handmaids, lower their drive to protest and suppress them. Yet in Offred educated background she is aware that this is not the full quote and defies expectation by finishing it herself. A reader may believe that this means she sees a life outside of Gilead, that she believes she will ‘inherit the earth’, or rather there will be some form of balance restored. The use of ‘they’ within this recital also indicates a belief in a collective of Handmaids that will work to subvert the rule of Gilead, she does not talk about herself here and rather talks about a collective of the ‘meek’ who shall take over and repossess what they have been stripped of. Further, this idea of the collective ‘meek’ being together is emphasised in the idea that comes after Ofglen’s taking of Offred into the resistance. Offred thinks ‘there is an us then, there is a we’ before going onto say ‘what about them’. These three collective pronouns create the idea that there are two groups of people in Offred’s mind and that she is separate from the regime and its agents. The ‘them’ is in reference to the state actors that exist within Gilead and their violence. Offred separates herself from the violence in the recognition of a ‘them’, she is no longer a part of what has placed others on a wall, what has murdered those around her because she is able to self-actualise and join a group, to join a ‘we’, to join an ‘us’. and while this sentiment is incredible, it is short lived and just a few pages onward Offred reverts to the personal. The chapter ends with the pronoun ‘me’ in Offred joy that she was not taken away by the Eyes. This is a sad reflection that relates to the thesis that protest within Gilead is protest governed by laws of self-actualisation and not true revolutionary action. Offred creates an ‘us’, joins it, and, due to social conditioning, leaves it at the first sign of struggle.  

Finally, the way protest within the novel creates itself is in line with the concept of inward protest rather than outward revolutionary action. This is called incurvatus in se in the words of Christopher Lasch and generally forms itself in the self-actualisation over active opposition against injustice. One example of this is the stealing of a ‘withered daffodil’ from the kitchen by Offred. The daffodil is named after the Greek myth of narcissus and semiotically reflects narcissism. For Atwood to specify this flowers breed she creates the impression that what Offred is doing is to oppose standards of beauty set out by Gilead. However, a Laschian reader would take this symbol far differently. The fact that her protest is the taking of a symbol of narcissism is a reflection of the inability to protest non-narcissistically created in the 1980s during the creation of neo-liberalism. This phenomena praised the individuals actions over anything else and thus the individual saw themselves as more important than the collective group. Atwood, writing at a time where neoliberalism was being created, places her character past in the same time line as her own and thus Offred is afflicted by the same hegemonic standard. Offred exhibits much of the narcissistic tendencies that are noted by Lasch, namely the taking without much real action and what little action that does take place being to self-actualise. Her decision to take the Daffodil was arrived at because it ‘will not be missed’, this is an example of ‘meek’ defiance, and the aforementioned internalisation of such a thing. We have seen how Aunt Lydia wanted the handmaids to be ‘meek’ and Offred still acts in this way, she still internalises her message. The daffodil is ‘withered’, it is presumably about to be thrown out, it is dying. And Offred recognises this and takes it, because this protest is about self-actualising more than it is protest. 

Overall, ‘The Handmaid’s Tale’ is a novel that cannot be split into the suppression of women and their defiance. It must be viewed as a conjunction of the two; how the suppression of women harms their protest, how the protest of women changes their suppression. These two concepts exist in symbiosis, the protest of the female characters is in accordance to hegemonic weakening female stereotypes, the women are forced to internalise ideas about their own gender that are near impossible to refute. 

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Published by gcseenglishwithmisshuttlestone

Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

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Specifications that use this resource:

• AS and A-level English Literature A 7711; 7712

Example student response and examiner commentary

Below you will find an exemplar student response to a Section B question in the specimen assessment materials, followed by an examiner commentary on the response.

Sample question

'Women characters are presented primarily as those who suffer and endure.'

By comparing two prose texts, explore the extent to which you agree with this statement.

Band 4 response

Stereotypically, women are portrayed as the weaker sex in pre-1900 literature and they often suffer and endure unhappy marriages because of the inequality of the sexes. In post-1900 literature, however, women are shown as more equal and so writers don't focus on their suffering alone but also on the suffering of male characters in relationships. This is true of The Great Gatsby and The Rotters' Club where women do suffer and endure but arguably men are presented as suffering even more.

The Great Gatsby focuses on the main character of Jay Gatsby and his unrequited love for Daisy whereas The Rotters' Club includes many relationships. There are, however, similarities between Gatsby's suffering and that of Benjamin Trotter and Sam Chase, although the outcomes are different, and so this essay will focus on those male characters.

Gatsby's suffering is emphasised by Fitzgerald because he withholds it from the reader to begin with. Fitzgerald suggests Gatsby is successful and popular before we meet him through his house parties where 'champagne was served in glasses bigger than finger bowls' so his lovesickness is a surprise to the reader. We learn, that 'Gatsby bought that house so that Daisy would be just across the bay' and Fitzgerald uses the symbolism of the green light Gatsby can see at the bottom of Daisy's land to show how he is pining for her: 'he stretched out his arms toward the dark water…I could have sworn he was trembling.'

Having loved Daisy from afar for five years, Gatsby engineers afternoon tea at Nick's to reacquaint himself with her and Fitzgerald presents Gatsby as so desperate to impress her that he becomes very nervous with 'trembling fingers' and 'a strained counterfeit of perfect ease'. In the same way, Benjamin is presented as 'anxious' to know whether Cicely still loved him after her stay in America and his 'yearning' and 'nervousness' is 'transparent.'  Where we see Gatsby's lovesickness through Nick's narration, Coe gives Benjamin a 36-page sentence to narrate his and his rambling style emphasises how he has suffered through loving Cicely from afar:  'I had tried not to doubt her during that time, but once or twice, it's inevitable I suppose, you find yourself wondering, not about other men, I was never worried about that, but feelings fade, it happens all the time, or so I'm told, or so I've read.'

Having been reunited with their loves, Gatsby and Benjamin are unable to relax and believe that everything will be alright. Although 'consumed with wonder at her presence' in his house, Gatsby is presented as 'running down like an over-wound clock' because 'he had been full of the idea so long, dreamed it right through to the end, waited with his teeth set…at an inconceivable pitch of intensity.' Where Gatsby is obsessed with turning back time to recapture the five years they lost, Benjamin has a 'fear of the past, fear of how the past might have turned out, because we came within a whisker, Cicely and I, of missing each other altogether…and the thought of that, the thought that we might never have reached this point at all, oh, it was almost unbearable, unsupportable.'

The outcomes for Gatsby and Benjamin are, however, very different. By the end of the novel, Cicely and Benjamin are together and Coe effectively expresses Benjamin's relief and joy: 'suddenly it's as if everything refers to me and Cicely, everything is a metaphor for the way we feel, somehow the entire city has become nothing less than a life-size diagram of our hearts'. Gatsby's dream, however, crumbles, Firstly Daisy doesn't enjoy Gatsby's party, which he believed would impress her, and this leads to 'his unutterable depression' where he stops the parties and sack his servants 'so the whole caravansary had fallen in like a card house at the disapproval of her eyes.' Undeterred, however, Gatsby continues to pursue Daisy to the point of humiliation. When Daisy admits to having loved Tom, 'the words seemed to bite physically into Gatsby' but he still takes the blame for Myrtle's death to protect Daisy and then pitifully sits outside Daisy's house until 4 a.m. in a misguided belief he is protecting her from Tom when he is 'watching over nothing.'

Like Gatsby, Sam Chase is humiliated in The Rotter's Club but by his wife's affair with their son's art teacher, Miles Plumb, who seduces Barbara with his academic language. As with Gatsby, this could be seen as a class issue where Plumb is educated and Sam believes he needs to enlarge his vocabulary to win his wife back. Coe amusingly sets Barbara's reading of Plumb's love note against Sam's attempts and failure to master the 'quick and easy crossword.' Barbara is struggling to understand Plumb's compliments such as ''callipygic enchantress, apogee of all that is pulchritudinous in this misbegotten, maculate world'. At the same time, Sam makes mistakes such as: 'It's not exactly Doctor Chicago is it?' and makes such a mess of the crossword that Barbara asks:  'Giving up again?' and 'with just a hint of a taunt in her voice.'

Unlike Gatsby, who loses his confrontation with Tom and so loses Daisy, Sam wins Barbara back after a humorous phone call to Miles Plumb. Coe shows the absurdity of the situation where, feeling that 'he had to meet this man on his own terms,' Sam practises insults to use such as 'you are a temerarious poltroon, a rebarbative mooncalf, a pixilated dunderhead' but when it comes to it Sam can't get the words out. Humiliated and angry with himself, he 'screwed his eyes tight shut, and instinctively, without thinking about it, blew the longest and loudest raspberry he had ever blown in his life', which had the desired effect on Miles Plum.

For Gatsby, however, the ending is more tragic not only because of his death but also because right before he is shot he still hopes he can win Daisy: 'I suppose Daisy'll call too. He looked at me anxiously, as if he hoped I'd corroborate this.'  In the end, 'he must have felt that he had…paid a high price for living too long with a single dream'.

Examiner commentary

This is a logical and thorough argument where ideas are presented coherently. There is appropriate use of concepts and terminology and expression is accurate.

The candidate shows a thorough understanding of a range of ways in which meanings are shaped although analysis is often implicit rather than explicit. Discussion is supported purposefully with relevant textual evidence.

The candidate makes the literary presentation of women characters as the primary sufferers relevant to the period in which these texts were written; the focus instead on the suffering of male characters is supported by well-chosen examples.

The candidate makes a number of logical comparisons between the texts and shows an awareness of the wider presentation of characters as suffering and enduring for love.

The candidate engages thoroughly with the debate set up in the question in the focus on the suffering of male characters in these texts and in the discussion of different forms of suffering.

Overall: Coherent and thorough: this response seems to fit the Band 4 descriptors.

This resource is part of the Love through the ages resource package .

Document URL https://www.aqa.org.uk/resources/english/as-and-a-level/english-literature-a/teach/love-through-the-ages-example-answer-and-commentary-3-as-b2

Last updated 16 Dec 2022

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• A-Level English Literature

How to Write an A-Level English Literature Essay

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

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

The Basics of Crafting A-Level English Literature Essays

Understanding the Assignment: Decoding Essay Prompts

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

Essay Structure: Building a Solid Foundation

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

Thesis Statements: Crafting Clear and Powerful Arguments

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

Exploring PEDAL for Better A-Level English Essays

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

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

Clearly state your main idea.

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

Pull relevant quotes from the text.

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

Identify a literary technique in the evidence.

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

Break down the meaning of the evidence.

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

Link to Context:

Connect your point to broader contexts.

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

Navigating the World of Literary Analysis

Breaking Down Literary Elements: Characters, Plot, and Themes

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

Effective Text Analysis: Uncovering Hidden Meanings

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

Incorporating Critical Perspectives: Adding Depth to Your Essays

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

Secrets to Compelling Essays

Structuring your ideas: creating coherent and flowing essays.

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

Presenting Compelling Arguments: Backing Up Your Points

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

The Power of Language: Writing with Clarity and Precision

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

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

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

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

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

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

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

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

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

How do I avoid sounding repetitive in my essay?

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

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

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

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

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

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

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

You should also read…

• 6 Practical Tips for Writing Better Essays
• How to Do Research for an Excellent Essay

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

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

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

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

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

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

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

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

Classical Civilisations

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

Science subjects

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

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

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

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As and a level english literature - h072, h472.

Full assessment teaching materials, including secure assessment materials, are now only available on Teach Cambridge. Examples are shown below.

Question papers, mark schemes and reports

2022 - june series.

• Question paper - Drama and poetry pre-1900 H472/01 - PDF 2MB
• Mark scheme - Drama and poetry pre-1900 H472/01 - PDF 639KB
• Examiners' report - Drama and poetry pre-1900 H472/01 - PDF 1MB
• Question paper - Comparative and contextual study H472/02 - PDF 926KB
• Mark scheme - Comparative and contextual study H472/02 - PDF 476KB
• Examiners' report - Comparative and contextual study H472/02 - PDF 2MB
• Examiners' report - Literature post-1900 H472/03 - PDF 389KB
• Modified Papers H472/01-H472/02 - ZIP 1MB

2021 - November series

• Question paper - Drama and poetry pre-1900 H472/01 - PDF 940KB
• Mark scheme - Drama and poetry pre-1900 H472/01 - PDF 587KB
• Examiners' report - Drama and poetry pre-1900 H472/01 - PDF 382KB
• Question paper - Comparative and contextual study H472/02 - PDF 919KB
• Mark scheme - Comparative and contextual study H472/02 - PDF 496KB
• Examiners' report - Comparative and contextual study H472/02 - PDF 414KB
• Modified papers H472/01/02 - ZIP 2MB

2020 - November series

• Question papers H472 - interchange login required
• Question paper - Drama and poetry pre-1900 H472/01 - PDF 1MB
• Mark scheme - Drama and poetry pre-1900 H472/01 - PDF 539KB
• Examiners' report - Drama and poetry pre-1900 H472/01 - PDF 360KB
• Question paper - Comparative and contextual study H472/02 - PDF 649KB
• Mark scheme - Comparative and contextual study H472/02 - PDF 471KB
• Examiners' report - Comparative and contextual study H472/02 - PDF 352KB
• Modified papers H472/01/02 - ZIP 3MB

2019 - June series

• Question paper - Drama and poetry pre-1900 H472/01 - PDF 4MB
• Mark scheme - Drama and poetry pre-1900 H472/01 - PDF 529KB
• Examiners' report - Drama and poetry pre-1900 H472/01 - PDF 908KB
• Question paper - Comparative and contextual study H472/02 - PDF 2MB
• Mark scheme - Comparative and contextual study H472/02 - PDF 497KB
• Examiners' report - Comparative and contextual study H472/02 - PDF 1MB
• Examiners' report - Literature post-1900 H472/03 - PDF 469KB
• Summer highlights report H472 - PDF 206KB
• Modified Papers H472/01-H472/02 - ZIP 38MB

Sample assessment materials

Marking instructions are included at the beginning of specimen assessment material mark schemes and were accurate at the time of publication. Marking instructions may be revised in live papers as appropriate during the lifetime of the qualification.

We're currently revising our SAMs to update third-party copyright agreements. For question examples see our question papers, marks schemes and reports.

• Drama and poetry pre-1900 H472/01 - Sample question paper and mark scheme. PDF 488KB
• Comparative and contextual study H472/02 - Sample question paper and mark scheme. PDF 1MB
• Annotated sample assessment materials H472 - ZIP 694KB

Non-exam assessment (NEA)

• Literature post-1900: guide to task setting This guide outlines best practice for task setting to support teaching of A Level component 03: Literature post-1900. PDF 624KB
• Literature post-1900: non-exam assessment guide A useful guidance for teachers to support them in preparing candidates for the non-exam assessment component 03: Literature post-1900. PDF 593KB 27 days ago
• Question paper - Shakespeare and poetry pre-1900 H072/01 - PDF 751KB
• Mark scheme - Shakespeare and poetry pre-1900 H072/01 - PDF 510KB
• Examiners' report - Shakespeare and poetry pre-1900 H072/01 - PDF 2MB
• Question paper - Drama and prose post-1900 H072/02 - PDF 634KB
• Mark scheme - Drama and prose post-1900 H072/02 - PDF 453KB
• Examiners' report - Drama and prose post-1900 H072/02 - PDF 1MB
• Modified papers H072 - ZIP 1MB
• Question paper - Shakespeare and poetry pre-1900 H072/01 - PDF 1MB
• Mark scheme - Shakespeare and poetry pre-1900 H072/01 - PDF 518KB
• Question paper - Drama and prose post-1900 H072/02 - PDF 635KB
• Mark scheme - Drama and prose post-1900 H072/02 - PDF 486KB
• Modified papers H072/01-H072/02 - ZIP 3MB
• Question paper - Shakespeare and poetry pre-1900 H072/01 - PDF 2MB
• Mark scheme - Shakespeare and poetry pre-1900 H072/01 - PDF 941KB
• Examiners' report - Shakespeare and poetry pre-1900 H072/01 - PDF 962KB
• Question paper - Drama and prose post-1900 H072/02 - PDF 1MB
• Mark scheme - Drama and prose post-1900 H072/02 - PDF 504KB
• Examiners' report - Drama and prose post-1900 H072/02 - PDF 662KB
• Modified papers H072 - ZIP 16MB
• Shakespeare and poetry pre-1900 H072/01 - Sample question paper and mark scheme. PDF 458KB
• Drama and prose post-1900 H072/02 - Sample question paper and mark scheme. PDF 952KB
• Annotated sample assessment materials H072 - ZIP 651KB

Candidate exemplars

2018 - june series.

• Shakespeare and poetry pre-1900 H072/01 - PDF 12MB
• Drama and prose post-1900 H072/02 - PDF 10MB

2017 - June series

• Shakespeare and poetry pre-1900 H072/01 - Exemplar candidate work with commentary PDF 13MB

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NEA support for teachers

For free online courses to support marking and moderation sign into My Cambridge and click OCR Train. If you need a login, ask your exams officer.

Programmes & Qualifications

Cambridge international as & a level english - literature (9695).

• Syllabus overview

Learners following the Cambridge International AS and A Level English syllabus will study a range of texts in the three main forms: prose, poetry and drama. Set texts are offered from a wide range of different periods and cultures.

Learners will develop skills of reading and analysis of texts, and are encouraged to undertake wider reading to aid understanding of the texts studied. They will learn skills of effective and appropriate communication including the ability to discuss the critical context of texts.

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

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

• -->2021 - 2023 Syllabus update (PDF, 179KB)
• -->2024 - 2026 Syllabus (PDF, 523KB)

Syllabus support

• -->2023 - 2026 Grade Description A Level (PDF, 156KB)
• -->2023 - 2026 Grade Description AS Level (PDF, 149KB)
• -->Support for Literature in English (PDF, 3MB)

Syllabus updates

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

Many teachers told us that they offer more than one English subject from this group, so we have made some changes so that the syllabuses work together regardless of whether a student is studying one or more subject from this group. To make it clearer for teachers, we have separated this syllabus (Cambridge International AS and A Level English – Literature 9695) from our other Cambridge International AS & A Level English syllabuses.

How has the syllabus changed?

Cambridge International AS & A Level Literature in English is available for examination in 2021, 2022 and 2023.

• We have updated the aims in the syllabus, but the emphasis remains the same - to encourage learners to enjoy reading a wide range of international texts and to develop their skills in Literature.
• Interpretation.
• We have updated the list of set texts in the 'Subject content' section of the syllabus.
• A list of command words has been added to the syllabus to help teaching and learning and exam preparation.

How has the assessment changed?

• We have removed optional routes through the syllabus. There are now compulsory examination components: Paper 1 and Paper 2 at AS Level, with the addition of Paper 3 and Paper 4 at A Level.
• Paper 2: The assessment of an Unseen text has been introduced to the AS level and this provides good progression from Cambridge IGCSE.
• Coursework has been removed from the syllabus. All components are now externally assessed.
• All learners will study all three forms: poetry, prose and drama at both AS and A Level. This allows students to gain a good knowledge and understanding of Literature in all forms.
• The question paper structure has changed, as have the paper titles due to the changes made to the assessment model. However, the style of questions and presentation of the questions remains consistent with the current syllabus.
• The rubrics in all of the question papers have changed. Please see the specimen papers for further information.
• The levels-based marking criteria have been updated to maintain validity and reliability of assessment.

When do these changes take place?

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

Coming soon

We are developing a wide range of support to help you plan and teach the 2021-2023 syllabus.

Look out for a comprehensive range of materials to help you teach the updated syllabus including a scheme of work, Example candidate responses, Learner and Teacher Guides as well as specimen paper answers. These resources will be available from April 2019 onwards (before first teaching) through our School Support Hub .

Endorsed resources

Introduce key concepts and skills for advanced level literary study and focus on developing effective writing from the start. Give students a toolkit for responding to unseen texts and exploring the set texts in depth.

Read more on the Collins website

Through exploring wide ranging texts, students will find they are building essential skills – such as the ability to write clearly and effectively, construct an argument, manage information and analyse complex pieces.

Read more on the Cambridge University Press website

Important notices

We are withdrawing Cambridge International AS & A Level Literature in English (9695) from the March exam series. The last March series for this syllabus will be March 2026. 

From 2027, we will only offer this syllabus in the June and November exam series.

We communicated this change to schools in September 2022.

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

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

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

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

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Teachers at registered Cambridge schools can unlock over 30 000 teaching and learning resources to help plan and deliver Cambridge programmes and qualifications, including Schemes of work, Example candidate responses, Past papers, Specimen paper answers, as well as digital and multimedia resources.

Schemes of work

Example responses, past papers, specimen paper answers.

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Sign up for updates about changes to the syllabuses you teach

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Sample Essays

Click on the links below for examples of essays that have been written by students studying Frankenstein:

Essay 1 - How are female characters portrayed in the opening chapters of Frankenstein?

Essay 2 - ‘Originally conceived as a ghost story, Frankenstein is far more – it is a story of alienation.’ Examine Shelley’s portrayal of the Creature in the light of this comment.

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A*/FULL MARKS A-LEVEL ENGLISH LITERATURE OTHELLO ESSAY - EXTRACT-BASED

Subject: English

Age range: 16+

Resource type: Assessment and revision

Last updated

20 March 2024

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AQA A-Level English Literature A Paper 1: Love Through The Ages Section A: Shakespeare Text: Othello

This is an A*/full mark (25/25) essay for A-level English literature. As it explores examples from the wider play, as well as the given extract, the essay is useful for wider revision/topic knowledge as well as being an exemplar essay/written response.

Question: ‘In the literature of love, the happiness of lovers is threatened by forces external to their relationship’. In the light of this view, discuss how Shakespeare presents the destruction of Othello and Desdemona’s relationship in this extract and elsewhere in the play.

(The given extract that this essay engages with is included at the start of the document for ease of reference).

This essay:

• Sets out a debate in its thesis derived from the given question/interpretation (AO5). This essay explores and considers the ‘external’ threat of the antagonist of Iago in regard to the demise of the relationship between Othello and Desdemona. However, it ultimately argues throughout its response (AO1/AO5) that the happiness of lovers is actually threatened by forces within their relationship – in this case, Othello’s inner insecurities.
• It analyses a wide variety of literary techniques and authorial methods (including: similes, modal verbs, apostrophe, imagery, tone, foreshadowing, metaphor, allusion, the verse form etc.) from both the given extract as well as elsewhere within the wider play (AO2).
• It incorporates relevant contextual links that are influential in regards to the question and debate of this essay/question, including: the tragic context, race and reputation (AO3).
• It explores connections across literary texts, focusing on the destructive interference of malicious third parties and it considers ideas about the play as a tragedy (AO4).

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March 20, 2024 | Shawn Kornegay - Neag School of Education

Connecticut’s 2024 Letters About Literature Contest Winners Named

UConn's Neag School of Education, Department of English, and Connecticut Writing Project, co-sponsors of the 31st annual Letters About Literature contest, are proud to announce Connecticut’s winners for the 2023-24 academic year.

Doug Kaufman, left, congratulates a winner from the Letters About Literature contest in 2023; Jason Courtmanche is pictured in the background. (Shawn Kornegay/Neag School)

UConn’s Neag School of Education , Department of English , and Connecticut Writing Project (CWP) , co-sponsors of the 31st annual Letters About Literature contest, are proud to announce Connecticut’s winners for the 2023-24 academic year.

Each year, students in grades four through 12 are invited to read a text, broadly defined, and write a letter to the author (living or dead) about how the text affected them personally. Submissions are grouped according to grade level (grades four to six; grades seven and eight; and grades nine to 12).

All submissions were read and scored by Neag School alumni teacher-volunteers. Of the 878 submissions from Connecticut students this year, there were 526 students who received honorable mentions. Each Letters About Literature semi-finalist and honorable mention recipient received a letter of recognition.

A second set of judges, all pre-service teachers, then read and scored the 91 semi-finalists — twice for each submission — and selected a total of nine winners, three per grade level. Then one student per grade level was named Top Prize. Each of the nine winners will receive a gift card: the three Top Prize winners get $200 each and the six others get $100 each. The winning recipients will be recognized at a ceremony later in the spring.

Neag School associate professor Doug Kaufman , CWP director Jason Courtmanche , and Department of English Ph.D. candidate Margaret McFarlane served as the contest’s representatives for the state of Connecticut.

Letters About Literature Finalists for the State of Connecticut

The following are the contest finalists, listed with their respective school’s and teacher’s names, as well as the work of literature that is the focus of their essay, with access to their winning submissions in PDF format.

Level I (Grades 4-6)

• Top Prize Winner: Erioluwa Shokunbi , John Ferrero, Macdonough Elementary (Middletown), Gone by Michael Grant
• Winner: Ema He , Lucinda Kulvinskas, King Phillip Middle School (West Hartford), The Wild Robot Protects by Peter Brown
• Winner: Ria Shenoy , Ximena Franco-Bao, West Woods Upper Elementary School (Farmington), Wonder by R.J. Palacio

Level II (Grades 7-8)

• Top Prize Winner: Emma Allen, Kristin Liu, The Country School (Madison), Instructions Before Dancing by Nicola Yoon
• Winner: Ella Yu, Jessica Kerelejza, King Phillip Middle School (West Hartford), Little Women by Louisa May Alcott
• Winner: Ava Hill, Sara Tamborello, Segwick Middle School (West Hartford), The Wish by Nicholas Spark

Level III (Grades 9-12)

• Top Prize Winner: Brian Park, Lennoz Debra, Hotchkiss School (Salisbury), Theme for English B by Langston Hughes
• Winner: Noah Tork, Lucy Abott, Notre Dame (West Haven), Night by Ellie Wiesel
• Winner: Emerson Smith , Katherine Gabbay, Ridgefield High School (Ridgefield), The Virgin Suicides by Jefrey Eugenides

Letters About Literature Contest Judges

Alumni, students, and friends of the Neag School of Education and the University of Connecticut judged the Letters About Literature contest submissions this past fall. The judges selected semi-finalists at each of the three competition levels. Thank you to the first-round contest judges:

• Sarah Abbey
• Lea Attanasio
• Leah Baranauskas
• Sian Charles-Harris
• Celina DaSilva
• Caitlin Davidson
• Mirelinda Dema
• Kristina Dukette
• Hayley Gomez
• Migdalia Gonsalves
• Denise Grant
• Katie Grant
• Jill Kneisl
• Lindsay Larsen
• Lindsey Le-Gervais
• Laura Milligan
• Melissa Oberlander
• Katie Owens
• Alex Andy Phuong
• Jamie Pisacane
• Christy Rybczyk
• Jaclyn Sanzari
• Allison Stroili
• Robert Zupperoli

Students in the Neag School and Department of English judged the Letters About Literature semifinalist essays this past month. Thank you to the contest judges, who are current students in the Neag School of Education Integrated Bachelor’s/Master’s program with a second major or concentration in English or UConn students majoring in English:

• Grace Carpenter
• Mckenzie Dayton
• Amanda Faubel
• Emily Feest
• Chloe Goodi
• Vashonti Mac
• Brenna McNeec
• Evelyn Mcname
• Georgia Mills Rent
• Molly Morga
• Thomas Murray
• Sofia Oyola Morale
• Shannon Palme
• Lillian Sol
• Grian Wizne

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