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- THE CRUCIBLE AND DRESSMAKER NOTES (40+ ENGLISH, A+ RESOURCES)
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English & EAL
The Dressmaker by Rosalie Ham
October 19, 2020
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This blog was updated on 23/10/2020.
2. Historical Context
3. Part 1: Plot
4. Part 1: Quotes and Analysis â
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 Hamâs 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 isnât just about studying books and writing essays, itâs also about learning new insight youâll 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. Hamâs 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 wouldnât expect a novel about fashion and betrayal to do it either. But somehow, it just does, and itâs what makes The Dressmaker one of my favourite books of all time.
- Historical Context
Before we move on to looking at The Dressmakerâs plot and delving deep into analysis, itâs really important to understand the main historical context which underpins the novel. By âhistorical contextâ, 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, Iâd 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 Lisaâs 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.Â
Hamâs fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The âOutbackâ doesnât 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 donât really communicate with the outside world unless itâs 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 theyâve 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.Â
- Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatarâs eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up âThe Hillâ, which is where Molly lives.Â
- 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 Prattâs 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 Almanacâs pharmacy, the footballers move into Purl and Fred Bundleâs pub.Â
- The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. Theyâre said to live in the tip at the edge of town.Â
- 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 Tillyâs 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 Dungatarâs 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.Â
- Tilly and Molly visit the Almanacs for dinner, wherein Tillyâs medicine causes Irmaâs pain to disappear. Although Mr Almanac is unpleasant â stating that Tilly can never be forgiven for Pettymanâs death â the night moves on, Tilly returns home and is visited by Teddy yet again.Â
Part 1: Quotes and Analysis â
âShe used to have a lot of falls, which left her with a black eye or a cut lip.â
Here, Ham subtly hints that Irma Almanacâs injuries were not solely due to âfallsâ, as it is also said that once her husband grew old the âfallsâ 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.
âHis new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.â
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 Dungatarâs social order and the clear separation between the roles of men and women.
âWhatâs the point of having a law enforcer if he enforces the law according to himself, not the legal law?â
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 townspeopleâs worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.
âWell let me tell you if heâs got any queer ideas weâll all suffer.â
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 Dungatarâs 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 .Â
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 thereâs ânaught thatâs poetic about damn [progress].â Here, we see the overriding contention of Rosalie Hamâs 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 townâs 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 townâs school.Â
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 âupper classâ, whilst people living paycheque to paycheque and struggling to get by are âlower classâ.Â
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.Â
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 oneâs position in the class structure.
Femininity, Fashion, and Patriarchy
By now, youâve probably realised that The Dressmaker âs title is significant. Fashion and âdressmakingâ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar . Weâll 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 itâs really in the eyes of the beholder. Whatâs 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 âladies of DungatarâŠturn their backsâ 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 donât have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband.Â
Fashion as Empowerment
Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if itâs in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tillyâs dressmaking sees her eventually transform at her wedding, even though she is initially described as a âgood muleâ 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 âfine silk taffeta gownâ and presenting an elegant, empowered image. The townspeople even note that Tilly is an âabsolute wizard with fabric and scissorsâ, and, with the use of the word âwizardâ, 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.Â
Think also about Sergeant Farrat. Even if he isnât a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his âgingham skirtâ 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 âgroup of European aristocratsâ wives who had somehow lost their wayâ. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As âaristocratsâ wivesâ, 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 Tillyâs dresses, her name is âscrubb[ed] outâ from the seating list - symbolically expressing a desire for Tillyâs modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses!Â
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 âseven month oldâ baby Pablo âin his cot...deadâ, as well as witnessing the deaths of Teddy and Molly. In her own words, she is âfalser than vows made in wineâ, 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 Tillyâs pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on ânothing ever really chang[ing]â, and therefore the maintenance of a culture of rumour and suspicion . Indeed, in âraz[ing Dungatar] to the groundâ, 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 DunnageÂ
Molly Dunnage is Tillyâs mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as âMad Mollyâ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being âtormentedâ 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 âdismant[ling] her sewing machine entirelyâ 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 . Mollyâs death is ultimately a pivotal event, and awakens Tilly to the fact that only ârevenge [could be] our causeâ, and thus that Dungatar is fundamentally irredeemable.
Teddy McSwineyÂ
Teddy McSwiney is the eldest son of the McSwiney family, Dungatarâs poorest residents. Teddy is a unique case, as although heâs 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 townâs âpriceless full forwardâ in Dungatarâs 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 ânice girls lov[ing] himâ, he âwas a McSwineyâ - discounted from the townâs 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 âdoesnât believe in cursesâ. However, his death after suffocating in a âsorghum millâ reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion. Â
Sergeant FarratÂ
Sergeant Farrat is one of The Dressmakerâs most interesting characters. On the surface, heâs nothing but a police officer who manages Dungatar. However, Farratâs position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the âlegal lawâ, 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 âbludgersâ and âthievesâ. Despite Dungatarâs complications, Farrat considers the townspeople âhis flockâ, 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!). Hereâs 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 âgingham skirtsâ which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatarâs conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddyâs 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 plotâs 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 âtest fabricâ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tillyâs return to her hometown and complicated past. The name is thought to originate from a Malay word meaning âseparateâ, mirroring Tillyâs 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.Â
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.Â
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 Tillyâs dresses are unveiled for the town to see.Â
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 Dungatarâs play, the climax of the novel which occurs in this section.
- Sample Essay Topics
1. âThey looked like a group of European aristocratsâ wives who had somehow lost their way.â 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. âDamn progress, thereâs naught thatâs poetic about diesel or electric. Who needs speed?â What is Hamâs 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!
- Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSGâs 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 youâre 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 Hamâs The Dressmaker condemns fundamentally oppressive communities. Discuss.
Step 1: analyse.
Weâve 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 shouldnât stray from the idea of âoppressive communitiesâ. Keep it as the centre of your essay and look at how events relate to this idea - weâll break it down more in Step 2 so you can properly explore it.
Because thereâs a âDiscussâ qualifier added to the end of the prompt, a clear and concise contention is really important. What youâre being asked to do is, again, stick with the topic frame. That means that going for the usual âtwo agree, one disagreeâ structure is decent, but I wouldnât suggest it as the most efficient way to go. Instead, what youâll see that I do with this essay is âdiscussâ how the topic is present throughout all three of our arguments.
Step 2: Brainstorm
Letâs start by breaking down the key words of the topic.
We have the idea of an âoppressive communityâ, 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 wonât directly reference Tilly or the town, even if theyâre quite clearly talking about them. Something for which you should look out â donât let the wording phase you!
The addition of the word âfundamentallyâ doesnât 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 âfundamentalsâ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means youâre going against the topic in a âDiscussâ prompt which, as we discussed above, isnât the best option in my view.
Step 3: Create a Plan
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 Tillyâs arrival, during Tillyâs 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 Hamâs 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.
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- Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
- Includes 5 sample A+ essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+
- Think like a 50 study scorer through advanced discussions like structural feature analysis, views and values and metalanguage.
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âOnce upon a timeâŠâ
The fairy tale of Cinderella is a well-known, well-loved and well-ingrained story that was always told to me as a bedtime story. Who could forget the mean-spirited stepsisters who punished and ruined Cinderellaâs life to no end? According to the dark Brothers Grimm version, the stepsisters mutilated their feet by cutting off their heels and toes to fit into the infamous shoe, and their eyes were pecked away by birds until they were blinded! Itâs definitely one way to send a message to children⊠donât be bullies or youâll be punished. Which is exactly what the Brothers Grimmâs views and values were. Their construction of their fairy tale to send a message of what they viewed as âgoodâ or âbadâ is simplistically shown through the writersâ choice in determining the charactersâ fate. The evil stepsisters are punished, while Cinderella receives happiness and riches because she remained kind and pure. A clear and very simple example of how texts reflect the beliefs, world views and ethics of the author, which is essentially the authorâs views and values!
What are the views and values of a text?
Writers use literature to criticise or endorse social conditions, expressing their own opinions and viewpoints of the world they live in. It is important to remember that each piece of literature is a deliberate construction. Every decision a writer makes reflects their views and values about their culture, morality, politics, gender, class, history or religion. This is implicit within the style and content of the text, rather than in overt statements. This means that the writerâs views and values are always open to interpretation, and possibly even controversial. This is what you (as an astute literature student) must do â interpret the relationship between your text and the ideas it explores and examines, endorses or challenges in the writerâs society.
How do I start?
Consider the following tips:
- What does the writer question and critique with their own society? What does this say about the writerâs own views and the values that uphold?
- For example, âJane Austen in Persuasion recognises the binding social conventions of the 19th century as superficial, where they value wealth and status of the utmost priority. She satirises such frivolous values through the microcosmic analysis of the Elliot family.â
- The writerâs affirming or critical treatment of individual characters can be a significant clue to what values they approve or disapprove of. What fate do the characters have? Who does the writer punish or reward by the end of the text?
- Which characters challenge and critique the social conventions of the day?
- Look at the writerâs use of language:
- Characterisation
- Plot structure
- Description
- In other words âŠwhat are the possible meanings generated by the writerâs choices?
- Recognition and use of metalanguage for literary techniques is crucial because you are responding to a work of literature. Within literature ideas, views and values and issues do not exist in a vacuum. They arise out of the writerâs style and create meaning .
- How do the writerâs choices make meaning?
- How are the writerâs choices intended to affect the readerâs perception of social values?
- Weave views and values throughout your close analysis essays, rather than superficially adding a few lines at the conclusion of the essay to indicate the writerâs concerns.
- Using the writerâs name frequently will also assist in creating a mindset of analysing the writerâs commentary on society.
Below are some examples from an examiner report of successful and insightful responses reflecting the views and values of the writer:
(Another tip is to go through examinerâs reports and take note of high quality responses, even if they are not the text youâre studying)
When contrasted with the stark, blunt tone of Caesar throughout the play âYou may see, Lepidus, and henceforth know...â the richness of Shakespeareâs poetry with regard to his âcouple so famousâ denotes how the playwright himself ultimately values the heroic age to which his protagonists belong over the machinations of the rising imperial Rome.
It is the word ânaturalâ here through which Mansfield crafts a sharp irony that invites us to rate Ednaâs obsession with her own performance.... It is this satiric impulse that also leaps to the fore through the image of Edna, âclasping the black book in her fingers as though it were a missalâ...the poignant economy of Mansfieldâs characteristic style explores her views on the fragility of the human condition .
âIn Cold Bloodâ provides a challenging exploration of the value placed on human life. The seemingly pointless murders undermine every concept of morality that reigns in Middle America, the âBible Beltâ, as well as the wider community. Capote insinuates his personal abhorrence of the death penalty and the disregard of mental illness in the justice system .
Why are views and values important in literature, and especially for close analysis?
Every year, the examiner reports emphasise how the best close analysis responses were ones that âshowed how the text endorsed and reflected the views and values of the writer and were able to weave an understanding of these through the essayâ (2013 VCAA Lit examiner report). By analysing HOW the text critiques, challenges or endorses the accepted values of the society in the text, you are demonstrating an understanding of the social and cultural context of the text, thus acknowledging the multifaceted layers that exist within literature. You are identifying the writerâs commentary of humanity through your own interpretation. Bring some insight into your essays!
- Cinematography
- Key Symbols
Rear Window 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 .
When most people think of Hitchcock, itâs the screeching violins from Psycho  that first come to mind. Whilst he is indeed known for his hair-curling thrillers, Rear Window  is a slightly subtler film which focuses not on a murderer at large, but rather a crippled photographer who never even leaves his apartment.
Our protagonist L.B. âJeffâ Jefferies is portrayed by James Stewart, who was known at the time for portraying cowboys in various Western films as well as starring in an earlier Hitchcock film Rope . After breaking his leg after a racing accident, Jeff begins to spy on his neighbours, one of whom he suspects of having committed a murder.
Despite some initial misgivings, his insurance nurse Stella (Thelma Ritter) and lover Lisa (Grace Kelly) also come to share his suspicions and participate in his spying. Their contributions ultimately allow the mystery to be solved.
Intertwined with this mystery is also the rather complex story of Jeff and Lisaâs relationship. Jeff on one hand resembles the âmachoâ men of action whom Stewart is very accustomed to playing. On the other hand, Kelly portrays a character much like herself, a refined and elegant urbanite whose lifestyle inherently clashes with that of an action photographer.
Hitchcock ultimately resolves both of these storylines in the filmâs denouement.
2. Historial Context
Before getting into the nitty-gritty of the film, it is crucial to understand a bit about its historical context. As with any other text, the social conditions at the time of Rear Window âs release in 1954 inform and shape the interactions and events of the film.
Released in the post-war period , the film is undoubtedly characterised by the interpersonal suspicion which defined the era. In particular, there was a real fear in America of Communist influences and Soviet espionage - so much so that a tribunal was established, supposedly to weed out Communists despite a general lack of evidence. This practice of making accusations without such evidence is now known as the McCarthyism, named after the senator behind the tribunal.
The film undoubtedly carries undertones of this, particularly in Jeffâs disregard for his neighboursâ privacy and his unparalleled ability to jump to conclusions about them. During this era, people really did fear one another, since the threat of Communism felt so widespread. Jeffâs exaggerated interpretations of his neighboursâ actions lead him to an irrational sense of suspicion, which is in many way the basis of the entire film.
At the same time, the 1950s saw a boom in photojournalism  as a legitimate profession. To some extent, this was fuelled by the heyday of Life  magazine (an American weekly, as well-known then as Time  magazine is today). This publication was almost entirely photojournalistic, and one of their war photojournalists, Robert Capa, is actually the basis of Jeffâs character. This explains the prevalence of cameras in his life, as well as his ability to emotionally distance himself from those whom he observes through the lens.
Another crucial historical element is the institution of marriage , and how important it was to people during the 1950s. It was an aspiration which everyone was expected to have, and this is reflected statistically - only 9.3% of homes then had single occupants (as opposed to around 25% today). People also tended to marry at a younger age, generally in their early 20s.
Conversely, divorce was highly frowned upon, and once you were married, you would in general remain married for the rest of your life. In particular, divorced women suffered massive financial difficulties, since men, as breadwinners, held higher-paying jobs, and women were only employed in traditionally female roles (e.g. secretaries, nurses, teachers, librarians). Seen in this light, we can understand Lisaâs overwhelming desire to marry and settle down with Jeff. The importance of marriage is also evident in the lives of Jeffâs neighbours; Miss Torsoâs 'juggling [of the] wolves', and Miss Lonelyheartâs depression both reflect this idea.
Combining a basic understanding of the filmâs plot, as well as our knowledge of its history, we can begin to analyse some of the themes that emerge.
Possibly the central tenet of the film is the big question of privacy . Even in todayâs society, the sanctity of privacy is an important concept; every individual has a right to make their own choices without having to disclose, explain or justify all of them. The character of Doyle says almost these exact words:Â
'Thatâs a secret and private world youâre looking into out there. People do a lot of things in private that they couldnât possibly explain in public'
The tension that Hitchcock draws upon is this other idea of public responsibility, or civic duty - that is, the need to uphold the peace and protect oneâs fellow citizens from harm. These ideas clash in Rear Window , as fulfilling this civic responsibility (which for Jeff means privately investigating Thorwald) means that Thorwaldâs right to privacy gets totally thrown out the window. So to speak.
Evidently, this is a major moral dilemma . If you suspect that someone has committed murder, does this give you the right to disregard their privacy and surveil them in this way? While the film doesnât give a definite answer (and you wonât be required to give a definite answer), Hitchcock undoubtedly explores the complexity of this question. Even Jeff has misgivings about what heâs seeing:Â
 'Do you suppose itâs ethical to watch a man with binoculars, and a long-focus lensâuntil you can see the freckles on the back of his neck, and almost read his mail? Do you suppose itâs ethical even if you prove he didnât commit a crime?'
In some ways, the audience is also positioned to reflect on this question, and in particular, reflect on the paranoia that characterised and defined the McCarthy era.
Somewhat separate to these questions is the romance  between Jeff and Lisa, since Hitchcock seems to keep the thriller storyline and the romance storyline separate for a large part of the film. Their contrasting lifestyles and world views present a major obstacle in the fulfilment of their romance, and the murder mystery both distracts and unites them. Hitchcock further alludes to the question of whether marriage will be able to settle those differences after all - a major example is the following scene, in which Lisa not only reveals her discovery of Mrs Thorwaldâs ring, but also expresses a desire for Jeff to âput a ring on itâ as well:
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4. Cinematography
Itâs impossible to study a Hitchcock film without considering how he impacted and manipulated its storytelling. The cinematographic techniques employed in Rear Window  are important ways of shaping our understanding of the film, and Hitchcock uses a wide array of visual cues to communicate certain messages.
Lighting  is one such cue that he uses a lot - it is said that at certain points in filming, he had used every single light owned by the studio in which this film was shot. In this film, lighting is used to reveal things: when the lights are on in any given apartment, Jeff is able to peer inside and watch through the window (almost resembling a little TV screen; Jeff is also able to channel surf through the various apartments - Hitchcock uses panning to show this).
On the contrary, a lack of lighting is also used to hide things, and we see Thorwald utilise this at many stages in the film. Jeff also takes advantage of this, as he often sits in a position where he is very close to being in the shadows himself; if he feels the need, he is able to retreat such that he is fully enshrouded. Low-key lighting in these scenes also contributes to an overall sense of drama and tension.
Another handy visual cue is the cross-cut , which is an example of the Kuleshov effect . The Kuleshov effect is an editing technique whereby a sequence of two shots is used to convey information more effectively than just a single shot. Specifically, the cross-cut shifts from a shot of a person to a second shot of something that this person is watching.
We see this often, particularly when Jeff is responding to events in the courtyard; Hitchcock uses this cross-cut to immediately show us what has caused Jeffâs response. This visual cue indicates to viewers that we are seeing what Jeff is seeing, and is one of the few ways that Hitchcock helps audiences assume Jeffâs point-of-view in key moments.
Similarly, Hitchcock also uses photographic vignetting  to merge our perspectives with Jeffâs - in certain shots, we see a fade in clarity and colour towards the sides of a frame, and this can look like a circular shadow, indicating to us that we are seeing something through a telescope or a long-focus lens.
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Interestingly, a vignette is also a short, descriptive scene that focuses on a certain character and/or idea to provide us with insights about them - in this sense, itâs also possible to say that Jeff watches vignettes of his neighbours. Since this word has two meanings, you must be careful about which meaning youâre referring to.
5. Key Symbols
As with any other text, itâs important to consider some of the key symbols that Hitchcock draws upon in order to tell his story. That being said, one of the benefits of studying a film is that these symbols tend to be quite visual - you are able to see these recurring images and this may make them easier to spot. Weâll be going through some of these key images in the final part of this guide.
One of the first symbols we see is Jeffâs broken leg , which is propped up and completely covered by a cast, useless for the time being. Because he has been rendered immobile by his leg, readers can infer from this symbol that he is also incapable of working or even leaving his apartment, let alone solving a murder mystery. The broken leg is in this sense a symbol of his powerlessness and the source of much of his discontent.
Another interpretation of the broken leg however, is that it represents his impotence which on one hand is synonymous for powerlessness or helplessness, but is on the other hand an allusion to his apparent inability to feel sexual desire. Being constantly distracted from Lisa by other goings-on in the courtyard definitely supports this theory. All in all, Jeffâs broken leg represents some compromise of his manhood, both in the sense that he cannot work in the way that a man would have been expected to, but also in the sense that he is unable to feel any attraction towards Lisa, even as she tries her best to seduce him.
Conversely, Jeffâs long-focus camera lens  is a symbol of his passive male gaze, which is more or less the only thing he can do in his condition. It is the main means through which he observes other people, and thus, it also symbolises his voyeuristic tendencies - just as his broken leg traps and inhibits him, his camera lens transports him out of his own apartment and allows him to project his own fears and insecurities into the apartments of his neighbours, watching them for entertainment, for visual pleasure.
In this latter sense, the camera lens can also be understood as a phallic symbol, an erection of sorts. It highlights Jeffâs perverted nature, and the pleasure he derives from the act of observing others. Yikes.
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On the other hand, Lisaâs dresses  underscore the more positive parts of her character. Her initial wardrobe represents her elegance and refinery whilst also communicating a degree of incompatibility with Jeff. However, as she changes and compromises throughout the film, her wardrobe also becomes much more practical and much less ostentatious as the film wears on, until she is finally wearing a smart blouse, jeans and a pair of loafers. The change in her wardrobe reflects changes in her character as well.
Finally, the wedding ring of Mrs Thorwald  is hugely significant; wedding rings in general represent marriage and commitment, and are still very important symbols that people still wear today. Specifically, Mrs Thorwaldâs ring means a couple of things in the context of the film - it is firstly a crucial piece of evidence (because if Mrs Thorwald was still alive, she would probably still be wearing it) and it is also a symbol through which Lisa can express a desire for stability, commitment and for herself to be married.
Thereâs definitely plenty to talk about with Hitchcockâs Rear Window , and I hope these points of consideration help you tackle this film!
Test your film technique knowledge with the video below:
Ready to start writing on Rear Window ? Watch the Rear Window Essay Topic Breakdown:
6. Sample Essay Topics
- In Rear Window , Hitchcock suggests that everybody can be guilty of voyeurism. Do you agree?
- Jeffâs attempts to pursue justice are entirely without honour. To what extent is this true?
- In the society presented in Rear Window , Jeff has more power and agency than Lisa in spite of his injury. Do you agree?
- Discuss how the opening sequence sets up later themes and events in Rear Window .
- 'Of course, they can do the same thing to me, watch me like a bug under glass if they want to.' Hitchcockâs Rear Window argues that it is human nature to be suspicious. To what extent do you agree?
- Explore the role of Jeffâs courtyard neighbours in the narrative of Rear Window .
- Jeff and Lisaâs roles in Rear Window , as well as that which they witness, reflect the broader societal tensions between the sexes of the time. Discuss.
- 'Iâm not much on rear window ethics.' The sanctity of domestic privacy supersedes the importance of public responsibility. Is this the message of Rear Window ?
- Marriage lies at the heart of Alfred Hitchcockâs Rear Window . Discuss.
- Hitchcockâs Rear Window explores and ultimately condemns the spectacle made of human suffering. Is this an accurate reflection of the film?
- Rear Window argues that it is more important to be right than to be ethical. Do you agree?
- 'To see you is to love you.' What warnings and messages regarding attraction are offered by Hitchcockâs Rear Window ?
- In Rear Window , women are merely objects of a sexist male gaze. To what extent do you agree?
- In what ways do Hitchcockâs cinematic techniques enhance his storytelling in Rear Window ?
- 'When theyâre in trouble, itâs always their Girl Friday that gets them out of it.' Is Lisa the true heroine of Rear Window ?
Now it's your turn to give these essay topics a go! In our ebook A Killer Text Guide: Rear Window , we've take 5 of these essay topics and show you our analysis, brainstorm and plan for each individual topic. We then write up full A+ essays - all annotated - so that you know exactly what you need to do to replicate a 50 study scorer's success!.
7. Essay Topic Breakdown
Whenever you get a new essay topic, you can use LSGâs 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 youâre unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because itâll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.
Film technique-based prompt:
Hitchcockâs use of film techniques offers an unnerving viewing experience . Discuss.
While we should use film techniques as part of our evidence repertoire in each essay, this particular type of essay prompt literally begs for it. As such, Iâd ensure that my essay has a greater focus on film techniques (without concerning myself too much over inclusion of quotes; the film techniques will act as a replacement for the quotes).
Since the essay prompt is rather open-ended, it is up to us to decide which central themes and ideas weâd like to focus on. By narrowing down the discussion possibilities ourselves, weâll 1) make our lives easier by removing the pressure to write about everything , and 2) offer teachers and examiners a more linear and straightforward approach that will make it easier for them to follow (and give you better marks!).
The âunnerving viewing experienceâ is present throughout the entire film, so my approach will be to divide up each paragraph into start of the film, middle of the film and end of the film discussions. This will help with my essayâs coherence (how well the ideas come together), and flow (how well the ideas logically progress from one to another).
Contention: Through a diverse range of film techniques, Hitchcock instils fear and apprehension into the audience of Rear Window .
P1: The opening sequence of Rear Window employs various film techniques to immediately establish underlying tension in its setting.
P2: Through employing the Kuleshov effect in the strategically cut scene of Miss Lonelyheartsâ attempted suicide, Hitchcock adds to the suspenseful tone of the film by developing a guilty voyeur within each viewer.
P3: In tandem with this, Hitchcock ultimately adds to the anxiety of the audience by employing lighting and cross-cutting techniques in the climax scene of the plot, in which an infuriated Thorwald attempts to enter Jeffâs apartment.
If you find this helpful, then you might want to check out our A Killer Text Guide: Rear Window ebook, which has all the information and resources you need to succeed in your exam, with detailed summaries and background information, as well as a detailed analysis of all five essay prompts!
8. Resources
How To Write a Rear Window Film Analysis
Rear Window: How Does Its Message Remain Relevant Today?
How To Write A Killer Text Response (ebook)
How To Embed Quotes in Your Essay Like a Boss
How To Turn Text Response Essays From Average to A+
5 Tips for a Mic-Drop Worthy Essay Conclusion
Updated 30/12/2020
- What Are Quotes?
- Why Use Quotes?
- What You Want To Quote
- How Much You Want To Quote
- How That Quote Will Fit into Your Essay
- There Are Also Other Ways of Using Quotation Marks
- Questions You Must Ask Yourself When Weaving Quotes into Sentences
- How To Find Good Quotes
1. What Are Quotes?
Quotations, better known by their abbreviation âquotesâ, are a form of evidence used in VCE essays. Using quotations in essays helps to demonstrate your knowledge of the text, and provides solid evidence for your arguments. The discussion on quotations in this study guide can be applied to all three areas of study in the VCAA English course which have been explained in detail in our Ultimate Guide s to VCE Text Response , Comparative and Language Analysis .
A quotation is the repetition of a group of words taken from a text by someone other than the original author. The punctuation mark used to indicate a repetition of another authorâs work is presented through quotation marks. These quotation marks are illustrated by inverted commas, either single inverted commas (â â) or double inverted commas (â â). There is no general rule in Australia regarding which type of inverted comma you must use for quotations. Single inverted commas are preferred in Australia as they follow the British standard. The American standard involves styling quotations with the double inverted comma. You can choose either style, just be consistent in your essays.
2. Why Use Quotes?
The usage of quotations in essays demonstrates:
- Your knowledge of the text
- Credibility of your argument
- An interesting and thoughtful essay
- The strength of your writing skills.
However, quotations must be used correctly, otherwise you risk (and these frequent mistakes will be discussed in detail later):
- Irrelevant quotations
- Overcrowding or overloading of quotations
- Broken sentences
How You Integrate a Quote into an Essay Depends on Three Factors:
- What you want to quote
- How much you want to quote
- How that quote will fit into your essay.
3. What You Want To Quote
As you discuss ideas in a paragraph, quotes should be added to develop these ideas further. A quote should add insight into your argument; therefore, it is imperative that the quote you choose relates intrinsically to your discussion. This is dependent on which aspect of the text you are discussing, for example:
- Description of theme or character
- Description of event or setting
- Description of a symbol or other literary technique
Never quote just for the sake of quoting. Quotations can be irrelevant  if a student merely adds in quotes as âsentence fillersâ. Throwing in quotations just to make your essay appear more sophisticated will only be more damaging if the quotation does not adequately reinforce or expand on your contention. Conversely, an essay with no quotations will not achieve many marks either.
4. How Much You Want To Quote
A quotation should never tell the story for you. Quotations are a âsupportâ system, much like a back up for your ideas and arguments. Thus, you must be selective in how much you want to quote. Generally speaking, the absolute minimum is three quotes per paragraph but you should not overload  your paragraphs either. Overcrowding your essay with too many quotations will lead to failure to develop your ideas, as well as your work appearing too convoluted for your assessor. Remember that the essay is  your  piece of work and should consist mainly of your own ideas and thoughts.
Single Word Quotations
The word âevaporatesâ, used to characterise money and happiness intends to instill the idea that happiness as a result of money is only temporary. (VCAA âCan Money Buy Happinessâ Language Analysis)
Single worded quotations can often leave the largest impression on the assessor. This is because you are able to demonstrate that you can focus on one word and develop an entire idea around it.
Phrase Quotations
Sunil Badami âstill found it hard to tie my Indian appearance to my Australian feeling', showing that for Sunil, his culture was not Indian, but Australian due to his upbringing. ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia )
A phrase quotation is the most common quotation length you will use in essays.
Long Quotations
The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as âsometimes, if I walked the main street of the village in the evening, I felt the press of their ghosts. I realised then that I had begun to step small and carry myself all hunched, keeping my arms at my sides and my elbows tucked, as if to leave room for them.â ( Year of Wonders, Geraldine Brooks )
Long quotations comprise of more than one sentence â avoid using them as evidence. Your assessor will not mark you highly if the bulk of your paragraphs consists of long quotations. You should aim to keep your quotations to less than 2 lines on an A4 writing page. If you have a long quotation you wish to use, be selective. Choose only the important phrases or key words, and remove the remaining sentence by replacing it with an ellipsis (âŠ).
Here is the same example again, with the student using ellipsis:
The multitudes of deaths surrounding Anna began to take its toll on her, burdening her with guilt as she felt âthe press of their ghostsâŠ[and] begun to step small and carry myself all hunchedâŠas if to leave room for them.â ( Year of Wonders, Geraldine Brooks)
In this case, we have deleted: âsometimes, if I walked the main street of the village in the eveningâ and âI realised then that I hadâ by using an ellipsis â a part of the quotation that is not missed because it does not represent the essence of the studentâs argument. You would have noticed that a square bracket ([  ]) was used. This will be discussed in detail under Blending Quotes.
5. How That Quote Will Fit into Your Essay
You must never take the original authorâs words and use them in your essay without inserting them in quotation marks. Failure to do so leads to âplagiarismâ or cheating. Plagiarism occurs when you take someone elseâs work and pass it off as your own. You must make sure that you use quotation marks whenever you use evidence from your text.
The following is plagiarism:
Even a single flicker of the eyes could be mistaken for the essential crime that contained all other crimes in itself â thought crime. (1984, George Orwell)
Using quotation marks however, avoids plagiarism:
Even âa single flicker of the eyesâ could be mistaken for âthe essential crime that contained all other crimes in itself â thought crime.â (1984, George Orwell)
There are serious consequences for plagiarism. VCAA will penalise students for plagiarism. VCAA uses statistical analysis to compare a studentâs work with their General Achievement Test (GAT), and if the cross-referencing indicates that the student is achieving unexpectedly high results with their schoolwork, the studentâs school will be notified and consequential actions will be taken.
Plagiarism should not be confused with:
- â Paraphrasing : to reword or rephrase the authorâs words
- â Summarising: to give a brief statement about the authorâs main points
- â Quoting : to directly copy the authorâs words with an indication (via quotation marks) that it is not your original work
Blending Quotations
You should always aim to interweave quotations into your sentences in order to achieve good flow and enhanced readability of your essay. Below is a good example of blending in quotations:
John Proctor deals with his own inner conflict as he is burdened with guilt and shame of his past adulterous actions. Yet during the climatic ending of the play, Proctor honours his principles as he rejects signing a false confession. This situation where Proctor is confronted to âsign [himself] to liesâ is a stark epiphany, for he finally acknowledges that he does have âsome shred of goodness.â ( The Crucible, Arthur Miller)
There are three main methods in how you can blend quotations into an essay:
1. Adding Words
Broken sentences are a common mistake made when students aim to integrate quotations into their sentences. Below are examples of broken sentences due to poor integration of a quotation:
âSolitary as an oysterâ. Scrooge is illustrated as a person who is isolated in his own sphere. ( A Christmas Carol, Charles Dickens)
Never write a sentence consisting of only  a quotation. This does not add insight into your argument, nor does it achieve good flow or readability.
Scrooge, âsolitary as an oysterâ, is illustrated as a person who is isolated in his own sphere. Â (A Christmas Carol, Charles Dickens)
This example is better, however the sentence is still difficult to read. In order to blend quotations into your sentences, try adding in words that will help merge the quotation and your own words together:
Described as being as âsolitary as an oysterâ, Scrooge is illustrated as a person who is isolated in his own sphere. Â (A Christmas Carol, Charles Dickens)
Scrooge is depicted as a person who is âsolitary as an oysterâ, illustrating that he is isolated in his own sphere. Â (A Christmas Carol, Charles Dickens)
Tip: If you remove the quotation marks, the sentence should still make sense.
2. Square Brackets ([ Â Â ])
These are used when you need to modify the original writerâs words so that the quotation will blend into your essay. This is usually done to:
Change Tense
Authors sometimes write in past (looked) , present (look)  or future tense (will look) . Depending on how you approach your essay, you may choose to write with one of the three tenses. Since your tense may not always match the authorâs, you will need to alter particular words.
Original sentence: ââŠputs his arm around Lewisâ shoulderâ ( Cosi, Louis Nowra)
Upon seeing Lewis upset, Roy attempts to cheer him up by âput[ting] his arm around Lewisâ shoulderâ. ( Cosi, Louis Nowra)
Change Narrative Perspective
The author may write in a first (I, we) , second (you)  or third person  (he, she, they)  narrative. Since you will usually write from an outsiderâs point of view, you will refer to characters in third person. Thus, it is necessary to replace first and second person pronouns with third person pronouns. Alternatively, you can replace first and second person pronouns with the characterâs name.
The original sentence: âOnly now can I recognise the scene for what it was: a confessional, a privilege that I, through selfishness and sensual addiction, failed to acceptâŠâ  (Maestro, Peter Goldsworthy)
When Keller was finally ready to share his brutal past with Paul, the latter disregarded the maestro, as he was too immersed in his own adolescent interests. However, upon reflection, Paul realises that âonly now can [he] recognise the scene for what it was: a confessional, a privilege that [he], through selfishness and sensual addiction, failed to acceptâ. (Maestro, Peter Goldsworthy)
Insert Missing Words
Sometimes, it may be necessary to insert your own words in square brackets so that the quotation will be coherent when incorporated into your sentences.
The original sentence: âHis heels glow.â ( Ransom, David Malouf)
Achilles, like Priam, feels a sense of refreshment as highlighted by âhis heels [which] glow.â ( Ransom, David Malouf)
It is important to maintain proper grammar while weaving in quotations. The question is: does the punctuation go inside or outside the final quotation mark?
The rule is: If the quoted words end with a full stop (or comma), then the full stop goes inside the quotation marks. If the quoted words do not end with a full stop, then the full stop goes outside the quotation marks.
Original sentence: 'Sagittyâs old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.â ( The Secret River, Kate Grenville)
Punctuation inside:
During the past decade, Thornhill became the wealthiest man in the area, owning âSagittyâs old place plus another hundred acres that went from the head waters of Darkey Creek all the way down to the river.â ( The Secret River, Kate Grenville)
Punctuation outside:
During the past decade, Thornhill became the wealthiest man in the area, owning âSagittyâs old place plus another hundred acresâ. ( The Secret River, Kate Grenville)
6. There Are Also Other Ways of Using Quotation Marks
Title of text.
When including the title of the text in an essay, use single quotation marks.
Directed by Elia Kazan, âOn The Waterfrontâ unveils the widespread corruption among longshoremen working at New Jersey docks. ( On The Waterfront, Elia Kazan)
Alternatively, you can underline the title of the text instead of using single quotation marks. Many teachers and examiners prefer this option.
Quotation Within a Quotation
When you quote the author who is quoting someone else, then you will need to switch between single and double quotation marks. You firstly need to enclose the authorâs words in single quotation marks, and then enclose the words they quote in double quotation marks. If you're following the American standard, you'll need to do this the opposite way - that is, using double quotation marks for the author's words and and then single quotation marks for the quote. We recommend sticking to the preferred Australian style though, which is single and then double.
Original sentence: ââŠsomething bitter and stringy, too difficult to swallow. âItâs just that â I â um, I hate itâŠItâs too â itâs too Indian!ââ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)
Sunilâs unusual name leads him to believe that it is ââŠsomething bitter and stringy, too difficult to swallow. âItâs just that â I â um, I hate itâŠItâs too â itâs too Indian!ââ ( Sticks and Stones and Such-like, Sunil Badami in Growing Up Asian in Australia)
As you can see, the student has quoted the authorâs words in single quotation marks. The dialogue used by the author is surrounded by double quotation marks. This demonstrates that the dialogue used in the text still belongs to the author.
Using Quotations to Express Irony
When you wish to express irony, you use quotation marks to illustrate that the implied meaning of the actual word or phrase is different to the normal meaning.
As a young girl, Elaine is a victim of Mrs Smeath and her so called âfriendsâ. Her fatherâs interest in insects and her motherâs lack of housework presents Elaine as an easy bullying target for other girls her age who are fit to fulfill Torontoâs social norms. ( Catâs Eye, Margaret Atwood)
In this case, âfriendsâ is written in inverted commas to indicate that Elaineâs peers are not truly her friends but are in fact, bullies.
7. Questions You Must Ask Yourself When Weaving Quotes into Sentences
1. Â Does the quote blend into my sentence?
2. Â Does my sentence still make sense?
3. Â Is it too convoluted for my readers to understand?
4. Â Did I use the correct grammar?
8. How To Find Good Quotes
Tip One: Do not go onto Google and type in 'Good quotes for X text', because this is not going to work. These type of quotes are generally the most famous and the most popular quotes because, yes they are good quotes, but does that necessarily mean that it's going to be a good quote in your essay? Probably not. But why? Well, it's because these quotes are the most likely to be overused by students - absolutely every single person who has studied this text before you, and probably every single person who will study this text after you. You want to be unique and original. So, how are you going to find those 'good quotes'? Recognise which quotes are constantly being used and blacklist them. Quotes are constantly used in study guides are generally the ones that will be overused by students. Once you eliminate these quotes, you can then go on to find potentially more subtle quotes that are just as good as the more popular or famous ones. Tip Two: Re-read the book. There is nothing wrong with you going ahead and finding your own quotes. You don't need to find quotes that already exist online or in study guides. Go and find whatever gels with you and whatever you feel like has a lot of meaning to it. I had a friend back in high school who was studying a book by Charles Dickens. I haven't read the book myself, but there was a character who couldn't pronounce the letter S, or he had a lisp of some sort. What my friend did was he found this one word where, throughout the entire book, the guy with the lisp only ever said the S one time and that was a massive thing. So, he used that. This is something that is really unique and original. So, go ahead and try to find your own quotes. Tip Three: Realise that good quotes do not necessarily have to come from the main character. Yes, the main character does often have good quotes associated with whatever they're saying, but just know that you do have minor characters who can say something really relevant and have a really good point too. Their quote is going to be just as strong in your essay as a main character's quote, which will probably be overused and overdone by so many other students. Tip Four: Develop a new interpretation of a famous or popular quote. Most of the time, the really popular quotes are analysed in very much the same way. But if you can offer a new insight into why it's being said or offer a different interpretation, then this is automatically going to create a really good quote that's going to offer a refreshing point of view. For example, if we look at The Great Gatsby , one of the most famous quotes that is constantly being used is, 'He found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass.' What most people will do is they will analyse the part about the 'grotesque thing a rose', because that's the most significant part of the quote that stands out. But what you could do instead, is focus on a section of that quote, for example the 'raw'. Why is the word raw being used? How does the word raw contribute extra meaning to this particular quote? This way you're honing in on a particular section of the quote and really trying to offer something new. This automatically allows you to investigate the quote in a new light. Tip Five: Just remember that the best quotes do not have to be one sentence long. Some of the best quotes tend to be really short phrases or even just one particular word. Teachers actually love it when you can get rid of the excess words that are unnecessary in the sentence, and just hone in on a particular phrase or a particular word to offer an analysis. And also, that way, when you spend so much time analysing and offering insight into such a short phrase or one sentence, it shows how knowledgeable you are about the text and that you don't need to rely on lots and lots of evidence in order to prove your point. Those are my five quick tips on how to find good quotes from your texts!
Need more help with quotes? Learn about 5 Ways You're Using Quotes Wrong .
Resources for texts mentioned/referenced in this blog post:
Comparing: Stasiland and 1984 Study Guide
A Killer Text Guide: Cosi (ebook)
Cosi By Louis Nowra Study Guide
Cosi Study Guide
Growing Up Asian in Australia Study Guide
A Killer Text Guide: On the Waterfront (ebook)
A Killer Text Guide: Ransom (ebook)
Ransom Study Guide
The Crucible by Arthur Miller Study Guide
A Killer Text Guide: The Crucible (ebook)
â The Crucible and Year of Wonders Prompts
Comparing: The Crucible and Year of Wonders Study Guide
The Great Gatsby Study Guide
â A Killer Text Guide: The Secret River (ebook)
The Secret River by Kate Grenville Study Guide
Updated 24/12/2020
- Themes, Motifs and Key Ideas
- Comparative Essay Prompt Example
The Crucible is a four-act play that portrays the atmosphere of the witch trials in Salem. As an allegory of McCarthyism, the play primarily focuses on criticising the ways in which innocent people are prosecuted without any founded evidence, reflecting the unjust nature of the corrupted authoritarian system that governs Salem. It starts off with the girls dancing in the woods and Bettyâs unconsciousness, which causes the people of Salem to look for unnatural causes. People start scapegoating others to escape prosecution and falsely accuse others to gain power and land, facilitating mass hysteria which ultimately leads to the downfall of the Salem theocracy. The protagonist John Proctor is one of those that decides to defy the courts and sacrifices his life towards the end of the play, ending the play on a quiet note in contrast with its frenzied conflict throughout the acts.
The Dressmaker shows the audience the treatment towards Tilly Dunnage upon her return to fictional town Dungatar years after she was wrongly accused of being a murderess. Rosalie Ham critiques the impacts of rumours on Tilly and Molly, also establishing her condemnation of the societal stigma of this isolated town. Tilly starts making haute couture outfits to transform the lives of the women in the town and help them present themselves as more desirable and elevate their ranks. However, the townspeople still see Tilly negatively, except for some individuals who are able to look past the opinions of others and get to know Tilly themselves. Hamâs gothic novel garners the audienceâs sympathy towards the outcasts of the town and antagonises those who find pleasure in creating drama and spreading rumours about others. Â
2. Themes, Motifs and Key Ideas
Through discussing themes, motifs, and key ideas , weâll gain a clearer understanding of some super important ideas to bring out in your essays. Remember, that when it comes to themes, thereâs a whole host of ways you can express your ideas - but this is what Iâd suggest as the most impressive method to blow away the VCAA examiners. Throughout this section, we'll be adhering to the CONVERGENT and DIVERGENT strategy to help us easily find points of similarity and difference. This is particularly important when it comes to essay writing, because you want to know that you're coming up with unique comparative points (compared to the rest of the Victorian cohort!). I don't discuss this strategy in detail here, but if you're interested, check out How To Write A Killer Comparative . I use this strategy throughout this discussion of themes and in the next section, Comparative Essay Prompt Example.
Similarities and Differences (CONVERGENT and DIVERGENT Ideas)
Social class .
Both The Crucible and The Dressmaker talk extensively about 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 âupper classâ, whilst people living paycheck to paycheck and struggling to get by are âlower classâ.
Ultimately, both The Crucible and The Dressmaker are set in classist societies where there is no opportunity for social advancement. Whilst Thomas Putnam steals the land of poor Salemites accused of witchcraft, the McSwineys are left to live in absolute poverty and never leave the âtipâ where they have lived for generations. Dungatar and Salem view this social division as a âgivenâ and reject the idea that there is anything wrong with certain people living a life of suffering so others can have lives of wealth and pleasure. As such, for both Salem and Dungatar, the very idea that anyone could move between the classes and make a better life for themselves is inherently dangerous. What we can see here is that class shapes the way communities deal with crisis. Anything that overturns class is dangerous because it challenges the social order â meaning that individuals such as Reverend Parris in The Crucible , or Councillor Pettyman in The Dressmaker may lose all their power and authority.
For The Crucible , thatâs precisely why the witchcraft crisis is so threatening, as the Salemites are prepared to replace Reverend Parris and deny his authority. Although Abigail and the group of girls thus single-handedly overturn Salemâs class structures and replace it with their own tyranny, Parrisâ original intention was to use their power to reinforce his authority. In The Dressmaker , Tilly is threatening because she doesnât neatly fit in to Dungatarâs class structure. Having travelled the outside world, she represents a worldly mindset and breadth of experiences which the townspeople know they cannot match.
For this theme, thereâs a DIVERGENCE of ideas too, and this is clear because the way that class is expressed and enforced in both texts is vastly different. For The Crucible , itâs all about religion â Reverend Parrisâ assertion that all Christians must be loyal to him ensures the class structure remains intact. More than that, to challenge him would be to challenge God, which also guides Danforth in executing those who donât follow his will. In the case of The Dressmaker , thereâs no central authority who imposes class on Dungatar. Rather, the people do it themselves; putting people back in their place through rumour and suspicion. However, by creating extravagant, expensive dresses for the townspeople, Tilly inadvertently provides people with another way to express class. Â
Isolated Communities
CONVERGENT:
The setting forms an essential thematic element of The Crucible and The Dressmaker . Both communities are thoroughly isolated and, in colloquial terms, live in the âmiddle of no-whereâ.
However, what is starkly different between the texts is how this isolation shapes the respective communitiesâ self-image. For Salem, its citizens adopt a mindset of religious and cultural superiority â believing that their faith, dedication to hard work and unity under God make them the most blessed people in the world. Individuals as diverse as Rebecca Nurse and Thomas Putnam perceive Salem to be a genuinely incredible place. They see Salem as the first battleground between God and the Devil in the Americas, and as such, construct a grand narrative in which they are Godâs soldiers protecting his kingdom. Even the name âSalemâ references âJerusalemâ, revealing that the Salemites see themselves as the second coming of Christ, and the fulfilment of the Bibleâs promises.
Not much of the same can be said for The Dressmaker . Dungatar lacks the same religious context, and the very name of âDungatarâ references âdungâ, or beetle poop. The next part of the name is 'tar', a sticky substance, creating the impression that Dungatar's people are stuck in their disgusting ways. The townspeople of Dungatar are acutely aware of their own inadequacy, and that is why they fight so hard to remain isolated from the outside world. Tilly is therefore a threat because she challenges their isolation and forces the men and women of Dungatar to reconsider why their community has shunned progress for so long. In short, she makes a once-isolated people realise that fear, paranoia, division and superstition are no way to run a town, and brings them to acknowledge the terribly harmful impacts of their own hatred.
On top of that, because Salem is literally the only Christian, European settlement for miles, it is simply impossible for them to even think about alternatives to their way of life. They are completely isolated and thus, all of their problems come from âwithinâ and are a result of their own division. For Dungatar, itâs a mix of societal issues on the inside being made worse by the arrival of people from the outside. The township is isolated, but unlike Salem, it at least has contact with the outside world. All Tilly does, therefore, is show the people of Dungatar an alternative to their way of life. But, for a community used to the way they have lived for decades, it ultimately contributes to its destruction.
3. Comparative Essay Prompt Example
The following essay topic breakdown was written by Lindsey Dang. If you'd like to see a completed A+ essay based off this same essay topic, then check out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker , written by 50 study scorer and LSG tutor, Jordan Bassilious!
[Modified Video Transcription]
Compare the ways in which outcasts are treated in The Crucible and The Dressmaker.
Before writing our topic sentences, we need to look at our key words first. The keywords in this prompt are outcasts and treated .
So, who are considered outcasts in the two texts? Outcasts can be those of traditionally lower classes, they can be characters with physical flaws, those that are different to others or those who do not abide by the standards of their respective societies.
- In The Crucible : Tituba, Abigail, John Proctor or even Martha Giles can be considered as outcasts.
- In The Dressmaker : We can consider Tilly, Molly, The McSwineys, etc.
We also need to look our second key word âtreatedâ. How would we describe the treatment towards these characters? Are they treated nicely or are they mistreated and discriminated against? Do ALL members of that community have that same treatment towards those outcasts or are there exceptions? Remember this point because we might be able to use this to challenge the prompt.
Weâre going to skip Step 2: Brainstorm today, but if youâre familiar with LSG teachings, including the THINK and EXECUTE strategy discussed in my How To Write A Killer Text Response ebook, then youâll be good for this part.
Both texts portray outcasts as victims of relentless accusations or rumours, seeking to engage the pathos of the audience towards those who are marginalised.
- In The Crucible , Tituba the âNegro slaveâ is the first person to be accused by witchcraft in Salem. Her âconsequent low standingâ is also shown through her use of language âYou beg me to conjure! She beg me make charmâ which is fraught with grammatical errors, compared to Judge Danforth who uses legal jargon and the Putnams who are much more well-spoken.
- Similarly, the McSwineys are also those of lower class and are seen as the outcasts of Dungatar. Their names show us their position in the social hierarchy because they are associated with swines which are pigs. This is confirmed by Sergeant Farrat who said âTeddy McSwiney was, by the natural order of the town, an outcast who lived by the tipâ. Even when Teddy McSwiney died, the townspeople still did not reflect on the impacts that their prejudice and bigotry had on him, eventually forcing the McSwineys to leave the town because they could not find a sense of belonging living there.
- Tilly is also poorly treated due to the fact that she is fatherless, being bullied by the kids at school especially Stewart Pettyman and also used by William as a leverage to marry Gertrude, threatening Elsbeth that âitâs either her [Gertrude] or Tilly Dunnageâ
- Also discuss Giles Coreyâs death and the significance of his punishment as the stones that are laid on his chest can be argued to symbolise the weight of authority
Miller and Ham also denounce the ways in which outcasts are maltreated due to their position in the social hierarchy through his antagonisation of other townspeople.
- Thereâs also a quote on this by Molly âBut you donât matter â itâs open slather on outcasts'. Herein, she warns the audience of how quickly outcasts can become victims of rumours and accusations as the term âslatherâ carries negative connotations.
- Similarly, the theocracy that governs Salem dictates the rights of their people and children. He specifically states 'children were anything but thankful for being permitted to walk straight, eyes slightly lowered, arms at sides, and mouths shut until bidden to speak', which explains the girlsâ extreme fear of being whipped. Salem is very violent to children, slaves and helpers and it can be seen that this is the result of the social hierarchy and the Puritan ideology.
- For The Dressmaker , also discuss the ways in which they name others in this quote âdaughter of Mad Molly is back â the murderess!â Likewise discuss how Goody Osbourne the âdrunkard half-wittedâ and Sarah Good an old beggar woman are the first ones to be named. You can talk about Martha who is accused of being a witch just because she has been âreading strange booksâ, and Sarah Good due to the mere act of âmumblingâ. The normality of these actions underlines the absurdity of the accusations made against these individuals, furthering Millerâs chastisement of the fictitious nature of the trials and also the ways in which outcasts are the first to be scapegoated.
However, there are still characters that are driven by their sense of morality or remorse instead of mistreating the outcasts of their community.
- Both Sergeant Farrat and Proctor are motivated by their remorse to make amends. Proctorâs evasion of âtearing the paperâ and finding âhis goodnessâ is motivated by his desire to atone for his sin (having committed adultery with Abigail), and Sergeant regretted sending Tilly away. He, in his eulogy, says âif you had included [Tilly], Teddy would have always been with usâ, expressing his regret for the ways outcasts are treated in Dungatar. Similarly, Teddy McSwiney also has a pure relationship with Tilly and treats her differently instead of judging her based on the rumours about her being a âmurderessâ.
- While those who can sympathise with outcasts in The Dressmaker are either outcasts themselves or are remorseful (or both), there are those in The Crucible that are purely and solely motivated by their moral uprightness. Rebecca Nurse is neither an outcast (as she is highly respected for her wisdom) nor remorseful (as she has remained kind and pure from the beginning of the play). She is always the voice of reason in the play and tries to stop authoritative figures from convicting and prosecuting outcasts. A quote you can use would be âI think you best send Reverend Hale back as soon as he come. This will set us all to arguinâ again in the society, and we thought to have peace this year'.
4. Sample Essay Topics
1. 'I sayâI sayâGod is dead.' âJohn Proctor, The Crucible . Explore how communities respond to crisis.
2. People must conform to societal expectations in The Crucible and The Dressmaker . Do you agree?
3. Discuss how The Crucible and The Dressmaker use textual features to convey the authorâs perspective.
4. Gender repression is rife in both The Crucible and The Dressmaker . Discuss.
Now it's your turn! Give these essay topics a go. If you're interested in reading a 50 study scorer's completed essays based off these 4 essay topics, along with annotations so you can understand his thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The Crucible & The Dressmaker.
This blog has written contributions from Lindsey Dang.
Understanding Context in The Crucible and The Dressmaker
The Crucible by Arthur Miller
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 charactersâ 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.Â
In this blog post, I will be giving a brief overview of the contexts of the play The Crucible by Arthur Miller and Rosalie Hamâs 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!Â
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 âthe other.âÂ
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 threateningâŠvirgin forest' that they believed to be the 'devilâs 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, Hamâs 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 townâs 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 âthe otherâ. Further, similarly to The Crucible , the stark physical isolation ensures that each individualâs social interactions are limited to the townâs small population, fostering a breeding ground for narrow-mindedness and prejudice. Hamâs 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.Â
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:
â Compare the ways in which The Crucible and The Dressmaker portray divided societies.Â
I was able to adapt much of this paragraph below to whatever essay prompts I came across.Â
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 wildernessâ, with the 'American continent stretching endlessly Westâ. The 'dark and threatening' forest which ominously surrounds the town is believed to be 'the last place on earth not paying homage to Godâ, inciting the irrational fear that 'the virginâs forest was the Devilâs last preserve' (1) . To combat the imminent threat of the 'marauding Indians' upon their arrival in Salem, the Salemites maintained that 'in unityâŠlay the best promise of safetyâ, 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 flatnessâ. 'The green eye of the oval' is a physical representation of the townâs predilection for prejudice and endorsement of slyly watching others (3) . The stifling insularity experienced by both towns perpetuates a paucity of culture and 'parochial snobberyâ, 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, Millerâs description of the 'small windowed dark houses struggling against the raw Massachusetts winter' alludes to the Salemitesâ dogmatically narrow-minded outlook and their repression of any individuality. Hence, despite the veneer of propriety upheld by Salemâs 'sect of fanaticsâ, 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 elseâ. 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) .
â Annotations (1) In these two sentences, Iâve provided the geographical context of Salem.  â (2) My description of the geographical location is followed quickly by describing the townâs beliefs and values, which have a large impact on the social context. â (3) Here, Iâve used the geographical context as a metaphor to explain the social context of Dungatar. â (4) Iâve described a similarity between the two towns - remember to use lots of meaningful comparisons in all paragraphs ( LSGâs CONVERGENT and DIVERGENT strategy is a useful strategy for this). â (5) Iâve detailed how the societal expectations and values of the Salemites (the people of Salem) can impact the behaviour of the characters. â (6) Here, Iâve outlined a subtle difference (or divergence ) between Dungatar and Salem. â (7) Once again, Iâve related the townspeopleâs values and beliefs, as well as the physical context, to their behaviour. â (8) Iâve ended with a meaningful comparison between the intent of the two authors.Â
Looking for more? Check out our other blog posts on The Crucible and The Dressmaker :
Comparing The Crucible and The Dressmaker
If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up withâŠessentially (as I, a true master of the English language, would put it) the absolute worst.Â
Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and Iâm still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the âMight Go Ahead and Drop Out of VCE so I Donât Have To Do My Oralâ club, as proof that it can be done and to help you get through it.Â
What Do We Mean by âOvercomingâ?
As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isnât going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you canât completely shake the nerves. So, by accepting the reality that the fear probably isnât going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage.Â
Selecting a âWOWâ Topic
Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a âWOWâ topic and contention . As Lisa says,
âan inherently interesting topic means that youâll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.â
This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you donât just need to choose a topic that will engage your audience, but also one that you yourself find engaging.Â
Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out.Â
So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they donât only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion â these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here .Â
More About the Voice, Less About the Words
It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay â using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isnât to say that your command of language isnât important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you canât avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.
During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When youâre already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:
- Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them.Â
- Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners â just make sure you donât only use short sentences and prevent your oral from flowing.Â
- Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness.Â
- Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they donât get to speak back, and this means that as long as you donât use slang you can have some fun with your delivery.Â
- Donât rely on an essay-like structure. Your audience wonât know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow.Â
Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you arenât worried about passing out. The ancient adage âfake it âtil you make it babyâ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable.Â
Preparation and Memorisation
Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful â and will also be easier to memorise.
Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence.Â
Making the Most of Your Nerves
As much as I would love to tell you that you can be âcuredâ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this âwiredâ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel âon edgeâ, a manageable amount of nervous energy can give you an edge that will amp up your performance.Â
Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is toâŠ*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into placeâŠas long as you put in the work.Â
Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!
For an overview of the EAL study design plus tips and tricks for language analysis, time management and more, check out The Ultimate Guide to EAL .
EAL Language Analysis Introductions
Both EAL and mainstream English students will need to complete a Language Analysis task as part of the VCAA Exam. The introduction of Language Analysis essays for VCE English is somewhat rigid as there are multiple components that must be included, for instance: issue, form, contention, name, publishing date, tone, etc. However, many of the âmust haveâ components of mainstream English essays are not required for EAL students or the EAL end-of-year examination. Check with your school/teacher to find out their opinion and criteria on this matter though, as they mark your internal assessments/Language Analysis SAC!
The 2019 VCE English as an Additional Language Examination Report states:Â
âIntroductions should be limited to showing an awareness of the audience, the context and the overall contention of the piece.â
With this guideline in mind, the advice I am sharing in this blog post is based on the understanding and assumption that EAL Language Analysis introductions DO NOT need background information such as where the article is published, when is it published, style, etc. But again, make sure you check with your school/teacher to find out exactly what criteria YOU need to meet for your assessments/SACs that are marked internally.Â
Using Templates in Your EAL Language Analysis Introductions
Since EAL is more flexible than mainstream English, and requires fewer elements, you can adopt a template for introductions that you are comfortable using to save time during the assessments.Â
For example, these sentence templates below are really versatile and can be easily adapted and/or combined to suit your essay:Â
- In response to the divisive issue ofâŠ(AUTHOR 1) implicitly/explicitly/inadvertently contends thatâŠ
- (AUTHOR 1) takes on a...tone to grab the attention of...(SPECIFIC AUDIENCE)
- Similarly/contrastingly,...,(AUTHOR 2) implicitly/explicitly/inadvertently contends that...in a...tone.
Using the templates above, here are some examples of what the final product for your introduction may look like. I have bolded the âtemplateâ parts so that you can see exactly how the templates have been used, but remember these are just templates, so you can adjust the wording slightly to suit your needs:
And if you want to learn more about tones, head to 195 Language Analysis Tones .
Example 1 (Using Templates 1 & 3)
(1) In response to the divisive issue of building an Apple global flagship store at Federation Square, the COMAAFS implicitly contends in an accusatory and defiant tone that the flagship store should not be built to replace one of Melbourneâs most popular landmarks. (3) Contrastingly , the web post written by the Victorian Government explicitly rejects the accusation from COMAAFS and advocates for the immense benefits that Victorians will receive from the Flagship store in an explanatory and reassuring tone .
Example 2 (Using Templates 1 & 3)
(1) In response to the divisive issue of homeless people camping in the city of Melbourne, Christopher Bantick contends in an accusatory and heated tone that the âmove-onâ law must be introduced in order to remove the homeless in Melbourne. (3) Contrastingly , Dr. Meg Mundell insists that making it illegal to sleep on the street will only exacerbate the problem in a demanding tone . Â
Example 3 (Using Templates 1 & 3)
(1) In response to the recent furore of the increasing use of cars, Tina Fanning contends in an alarming and mobilising tone that cars are no longer a viable mode of transport in the foreseeable future. (3) Similarly, Lucy Manne predicts the catastrophic consequence of excessive car use on Australian society in a composed and authoritative tone .
If you want to take your introduction to the next level, see The Importance of the Introduction for tips!
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Comparison of Arguments & Contentions in EAL Language Analysis
Unlike mainstream English, comparison of arguments/contention between the two writers is not essential for EAL, but it will probably earn you bonus brownie points if you do have time to add it in your essay :) For further explanation on comparative analysis, you can refer to this step-by-step guide: Exploring an A+ Language Analysis Essay Comparing Two Articles . Although the guide is aimed at mainstream English students, you can still apply some of the tips and strategies as an EAL student. It will really help to take your Language Analysis to the next level!
Don't forget to also check out Our Ultimate Guide to Oral Presentations for everything you need to know for Oral Presentations.
There are a plethora of controversial issues in the current Australian media that may be perfect for your 2017 oral presentation! Below are just a few ideas to get you started on your way towards acing that SAC. Remember, pick a topic that youâre passionate and enthusiastic about. Donât forget that there is no ârightâ opinion, however, make sure you offer a distinctive argument, even if it means adopting an alternative point of view. Good luck!
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- Should the Australian Government ban the wearing of the burka in public?
- Should the homeless be banned from Melbourneâs CBD? (Robert Doyle proposal)
- Should the Australia Government continue to fund the Safe Schools Coalition?
- Should gay marriage be legalised in Australia?
- Should the date of Australia Day be replaced/changed?
- Treatment of asylum seekers in detention centres (especially women and children)
- Is enough action being taken to diminish the sugar industry propaganda to minimise obesity?
- Should on â site pill testing be mandatory at all public events?
- Cultural insensitivity in Australia
- Is the development of technology and social media encouraging narcissism in young adults?
- Victoriaâs legal system
- Stem cell research
- Is the development of technology and social media encouraging the sexualisation of boys and girls?
- Drug testing and drug control in Australia (Bourke Street attack)
- Fake news being published by researchers to the media
- Should Victoriaâs juvenile justice system be improved by the Government?
- Do students learn as effectively with ebooks compared with traditional, hardcopy books?
- Should security footage of detention centres be released?
- Is Australia becoming an alcohol and sugar driven society?
- Has the notion of privacy been compromised in the 21st century? (internet, technology, terrorism)
Before you start writing your oral presentation, you can't miss our A+ tips that have helped hundreds of students get perfect marks in their SAC. Stand out from others with confidence now .
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In your English class, you probably feel like your teacher is making stuff up. Moments where you think, âThe author canât possibly have meant thatâ. To your English teacher, the smallest details have major implications in interpreting the text.
In fact, you probably agree with jokes like this:
The Book: âThe curtains were blue.â
What your teacher says: âThe curtains represent the characterâs depression.â
What the author meant: âThe curtains were blue.â
Or even this one...
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The disconnect you feel between yourself and the teacher is not just because your teacher is stretching for something to analyse. Whilst the author may have meant something different to what your teacher thinks, this doesnât mean your teacher is strictly wrong. Context and the authorâs intention are two complicated considerations in English, and a whole range of study is dedicated to it. At the VCE level you must consider the context your text was written in, and the author who wrote it, but this shouldnât hinder your own unique interpretation of the text.
Before you begin reading, I'd highly recommend that you check out our Ultimate Guide to VCE Text Response .
Your interpretation is more important than the author's intention
In 1968, Roland Barthes proposed a theory that has stuck with critics and academics of literature. âThe Death of the Authorâ claimed that the biography, views, or intentions of the author are not a part of the literary object.
The text you are studying in English does not belong to its author, but to the reader, and what the reader decides to make of that text is valid, as long as it is backed up with evidence (as your teacher will say). Barthesâ original essay is complicated, but at a basic level, âThe Death of the Authorâ says that the curtains are not only representative of the characterâs depression but could also represent the characterâs love of blue orchids.
When we read, we automatically apply our own experiences, biases, and understanding of the world to the text. As such, each person is likely to interpret a text in different ways. This is a major part of studying English, as the critic (you) is more important than the authorâs original intention. The fact that a single text can give rise to multiple interpretations is the reason we study English; to debate these interpretations. When you are given an essay topic you are being asked for your opinion on one of these debates, not the authorâs opinion on their own work. If you were reading The Fault in Our Stars and claimed it romanticised cancer, you would be participating in the literary debate, despite going against John Greenâs original intentions.
In the modern age of mass media, the author is attempting to revive themselves. These are authors who attempt to dictate interpretations of their works after they have been published. The most famous of these is likely J.K. Rowling, author of the Harry Potter series. Rowlingâs twitter page adds many pieces to the Harry Potter canon and Rowling offers her own interpretations of the text. To Rowling, her intentions are the only correct ways to interpret her texts, and as such she shares them frequently.
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This is not true, however, for any author. Authors are not the be-all-and-end-all when it comes to the interpretation of their texts. Despite having intentions and opinions on their texts, there is also evidence which counters their interpretations. Â
When it comes to the debate surrounding the texts you study, you need to remember that the interpretation of the author is only one part of the debate. It is an opinion equal to everyone else involved in the debate. Imagine the author is on trial. They may have an opinion of the crime (or text), but so does the prosecution. You are the jury and must come up with your own interpretation of the crime. Whether it matches up with the authorâs intentions or not does not matter, as long as there is supporting evidence within the text.
Context in VCE English
But what about the circumstances in which something was written? Every time you start a new text you are probably asked to research the time in which it was written, or what major political events may be relevant. Unlike the author, these factors are very important in interpreting a text.
For starters, a text may explicitly reference a certain event, and so understanding that event is key to understanding the text. An episode of the Simpsons may make fun of Donald Trump, and the writers assume we have the contextual knowledge to know who Donald Trump is, why he is important, and why the joke is funny. It is easy for us to understand this context because we live in the context.
If youâre studying texts from 200 years ago it becomes harder to interpret because weâre unfamiliar with the context. While you donât have to know the context of your text perfectly, understanding the cultural beliefs and major events will help you consider the text objectively.
Researching the context of a text acknowledges that literature is a product of the culture and politics of its time. Its themes may still be relevant in the modern age, but it is difficult to fairly judge, critic, and interpret these texts if we do not consider the context in which it was written. A piece of literature will either follow or criticise the views and opinions of the time, and it is the responsibility of the reader to understand these views and determine where the text sits.
Okay, so the text is a reflection of the time from which it stems, and is separate from the author that wrote it? Not quite. Counter to âThe Death of the Authorâ, the author is also a part of context, and this means certain parts of the author should be considered in interpreting a text.
If there is ambiguity in the meaning of a text, the authorâs personal beliefs may clear it up. If a character of a certain race is stereotyped and mocked, the meaning of this may change depending on the race of the author. If an author stereotypes their own race, they might be criticising the way other people see them, whereas making fun of a different culture is most likely upholding racist or discriminatory belief systems.
If you're studying VCE Literature, read The Importance of Context in Literature for some further info!
Deriving Meaning From Texts in VCE English
So, what ARE the curtains?! What do they mean? Well, they're a metaphor, representing more than their literal role as curtains. But also, theyâre just blue.
The truth is whilst context and the author are relevant, we should try to gain as much from the text as possible before relying on the context to guide our interpretations. While studying your texts, it is reasonable to apply modern standards to your interpretations.
Shakespeareâs plays are a tad sexist, and weâre able to criticise that, despite Shakespeare writing in a different context. For more on studying Shakespeare in VCE, read How to Approach Studying Shakespeare . But it would also be difficult to appreciate the meaning of texts without the context, especially when the text is a response to a major event. At the same time, weâre allowed to expand on what the author has written. We are not confined to what the author meant to say when we interpret texts. As an English student you have the opportunity to consider what each word may represent for the characters and how it influences your unique interpretation.
So, the curtains mean whatever you want them to mean. You can make reasonable assumptions about a text based on the context it comes from and from the authorâs life, but you shouldnât assume that something means nothing. Trivial things like the colour of curtains may not have been important to the author but allow us as English students to analyse and look deeper into the text, its themes, and the psyche of the characters.
In your SACs and exams looking at these small details and deviating from the authorâs intentions is an easy way to stand out. Looking to get to that A+ level? Read How to Turn Text Response Essays from Average to A+ . So, when your teacher says the curtains are a metaphor, consider what else could be a metaphor, and donât assume the author has all the answers, or that there is only one interpretation.
Oral Presentations - fun and full-scoring. Bet youâve never heard those words in the same sentence before! As much as the Oral is a SAC that is often feared by many English students, I managed to come out of my presentation not completely terrified - I was actually able to somehow enjoy myself a little up there, and I might have even had a smile on my face when it was all done. And, whatâs even better is that I managed to score full marks!Â
In this blog post, Iâm going to be guiding you through how I approached the Oral Presentation in Year 12 to achieve full marks. Iâll be breaking down my Oral Presentation script as well as giving some pointers about giving the Oral Presentation on the day.
â Scroll down to the bottom to read my full Oral Presentation script!
The Topic I Chose and How I Chose It
Youâve probably heard a million times before to choose an issue that youâre passionate about. This can often leave you thinking, I donât know what Iâm passionate about! or Iâm not passionate about anything in the media right now! I was one of those students in the beginning, but this is how I chose an issue that I ended up loving.
Taking Inspiration From My Other Year 12 Subjects
The subject I enjoyed the most in Year 12 was Legal Studies, and my love for this subject guided me in choosing an issue that I genuinely wanted to speak about. I was lucky to have a Legal Studies teacher who was a big nerd in everything law-related, and he often liked to update us about recent and ongoing legal cases that he found interesting. One case that he told us about that I became very interested in was the Ben Roberts-Smith defamation case against Nine Entertainment where some journalists called out Ben Roberts-Smith (a war veteran) for committing war crimes. Roberts-Smith sued these journalists, alleging that this wasnât true.Â
I knew I wanted to speak about this case, but I also knew that I had to argue an opinion , and not just provide an overview of the case. So, I began my research into the views of the stakeholders in the case. Something that was very useful to me in my research was news podcasts ! In particular, I came across a podcast episode from a podcast called Please Explain (as of 26/02/2024 it seems to have been rebranded and is now called The Morning Edition ) by The Age and The Sydney Morning Herald , where the actual journalists that were getting sued in the case talked about their experiences. After listening to this podcast episode on the way home from school, I found myself really sympathising with the journalists and thatâs how I knew that I wanted to speak about this defamation case from the journalistsâ perspective.Â
After some thinking, the contention that I arrived at was this:Â
â More should be done to protect public interest journalism.
So my advice for choosing an Oral Topic that you love is to take inspiration from other subjects youâre studying and enjoying , and to pick up on and research anything that your teachers tell you about that piques your interest!
Breaking Down My Script
The introduction, a hook start.
â Let me take you back in time. Six years ago, in 2017, many of us in this classroom were in Year 6, probably sitting in a primary school classroom, learning what an isosceles triangle is. And obviously, we had all been paying attention because now everyoneâs thinking, âOh yeah, I remember what an isosceles triangle is!â and weâre all imagining a tall triangle that looks like this.
Grabbing the audienceâs attention from the very start of your speech is key! To do this, I tried to open up my speech in an interesting way by encouraging the audience to do something - to reflect on what their lives looked like six years ago. Hook starts such as the one I used (which establish a common ground with the audience) were commonly used among my classmates - they quickly grab the audienceâs attention and are relatively easy to implement!
In my Statement of Intention* , I wrote that âI initially engage[d] my audience with a hook start, encouraging them to cast their minds back to 2017, and through the imagery of a primary school classroom, I aim[ed] to establish relatability and common ground with the audience, positioning them to be more agreeable to my arguments later on.â
â *Statement of Intention - a written statement accompanying my Oral Presentation, where I explained the choices I made in my presentation. As of 2024 and with the implementation of the new study design, students are no longer required to submit a Statement of Intention with their Oral Presentations. However, if youâre curious to know more about Statements of Intention, check out this blog .Â
Providing Context
â Now, while our Year 6 teachers were providing us with the life-changing information that is the different types of triangles, something bigger was happening on Collins Street. A huge news sausage was in the making. Picture this: a conversation between two passionate and overworked journalists, working for The Age and The Sydney Morning Herald. One of which had heard whispers from his contact book of Australian military circles that our most decorated living soldier was not the person that everyone thought he was, and that he had in fact been involved in war crimes like the killing of unarmed civilians. A shared desire to put these rumours to the test, with an open mind, wanting to disprove them as much as to prove them.Â
â This marked the start of a 4-year long legal battle in the form of a defamation lawsuit lodged by decorated war vet Ben Roberts Smith against two investigative journalists, Chris Masters and Nick McKenzie. And, after more than 100 days of hearings, this battle recently ended, with the judge ruling overwhelmingly in favour of Masters and McKenzie that what they had reported about Roberts Smith was substantially true, hence the two had not defamed him.
I spent a fair bit of time explaining the issue of protections around public interest journalism in the context of the Ben Roberts-Smith defamation case because it was a bit of a niche issue and I thought that my audience of Year 12 students were unlikely to have known too much about it. To keep this explanation engaging, I tried to explain the case in a descriptive and dramatic way, as if the events were unfolding in front of their eyes, and I tried not to make it sound like I was just listing background information. To do this, I used phrases like âA huge news sausage was in the makingâ, âPicture thisâ, to really set the scene in a dramatic way!
â A side note on choosing niche topics for the Oral Presentation: I know itâs often NOT recommended to choose topics that are unlikely to be well-known by your fellow students. This is because it can be disengaging when a student goes on a 5-minute tangent using complicated jargon on a topic that none of the other students know anything about. And⊠I guess I kind of turned that rule on its head! But this was precisely why I wanted to spend a chunk of my speech explaining the context of my issue - so that my speech would be accessible to my audience, so they wouldnât be bored, and so we would all be on the same page.Â
At the end of the day, itâs all about finding a balance between choosing a topic that you love and a topic that is easy for the audience to understand. So, if the topic that you would love to present to the class might be a bit less well-known, my advice would be to make sure to provide adequate context and spend a bit of time explaining key information at the start so that your speech is more accessible to the audience!
Stating Contention
â ABC News called it a win for public interest journalism. So why have I brought up this case today to highlight that not enough is being done to protect public interest journalism?
After my explanation section, I smoothly slid into contention territory. Even though I didnât directly state my contention (i.e. I didnât say âI believe that more should be done to protect public interest journalismâ), through the question, âWhy have I brought up this case to highlight that not enough is being done to protect public interest journalism?â, I implied that my contention was exactly that - that not enough is being done to protect public interest journalism.Â
The Supporting Arguments
I actually only had one supporting argument throughout my whole Oral Presentation, and although this might be an unusual way to do it, it worked well for me since I needed to spend quite a bit of time introducing the issue at the start. My one supporting argument was bulky enough that I had a complete speech with just a long introduction , bulky argument and conclusion .Â
Work out what might work best for you in your presentation. If your issue needs a bit of breaking down like mine did, it might be easier to stick to a very simple structure.
Outlining the Supporting Argument and Providing Evidence
â Legal battles in general are a huge issue for journalism because they can be used as a threat to journalists. This defamation lawsuit was only the tip of the legal iceberg for Masters and McKenzie. They also faced challenges to source protection and Roberts-Smithâs numerous attempts to silence the two and other witnesses by sending them legal letters telling them to shut up, to suppress the truth about his actions from coming to light.
I then went on to explain my supporting argument - that legal battles such as defamation cases put public interest journalism at risk (which is why, going back to my overall contention , more should be done to protect public interest journalism). As you can see, I constantly linked back to the Roberts-Smith defamation case because thatâs what I wanted to speak about, but I did not have to do this and you absolutely donât have to - a general explanation would have gotten the job done just as well.
You might be wondering why I didnât signpost at the start of my supporting argument - in other words, why I didnât include a sentence like âMy first supporting argument is that legal battles such as defamation cases put public interest journalism at riskâ. Some teachers love signposting and encourage students to do so. If your teacher seems to prefer clear signposting, go ahead and do that!Â
TIP: Keep in mind that for anything internally marked, it is important that you keep your teacher/schoolâs preferences and requirements in mind.Â
My teacher wasnât as insistent on signposting, and I personally didnât like how clear signposting made my speech sound a bit robotic, so to keep the flow of the speech I decided to fluff it out and start my argument the way that I did. Youâll also notice a lack of signposting throughout my speech in general for the same reasons.
The biggest issue about the Ben Roberts Smith defamation case for journalists and news corporations has been costs. Their win has come with a hefty price tag estimated to be around $25 million, and even though the majority of this is to be borne by the loser of the trial, The Age and The Sydney Morning Herald newspapers will still end up losing millions of dollars, just for defending themselves and their journalists in court.Â
I backed up my supporting argument with some evidence. To quote my Statement of Intention, âI went on to use numerical statistics like â4 year[s]â and â100 days of hearingsâ to emphasise that much of Masters and McKenzieâs time and energy was taken by BRSâs claim, aiming to evoke sympathy for them and positioning readers to agree that more protections are needed to prevent journalists from being involved in these time-consuming legal battles. I also established costs as another major issue using the statistic of â$25 millionâ to emphasise that not only are these legal battles time-consuming, but also expensive, and through connotations of immensity when describing this as a âhefty price tagââ.â
Explaining the Argument and How It Is Relevant to the Audience
But why exactly is this our issue? Itâs not like weâre the ones having to pay millions of dollars.
But it becomes our issue when this financial burden creates a chilling effect on public interest journalism. Fear of bankruptcy or crippling financial strain forces journalists to retreat, self censor or settle for silence. This financial issue for news organisations becomes our issue as the quality of our public interest journalism deteriorates and we are deprived of vital information.
Throughout my speech, I made an effort to constantly tie it back to the audience and explain why exactly this issue was important and relevant to them . This was important for me to do because the issue I chose was relatively niche so I felt like I had to prove to them that this issue was worth presenting. Even if the issue youâre presenting isnât exactly niche, itâs important to link back to the audience every now and then and to remind them why itâs important to them. In my case, I explained that defamation cases like the Roberts-Smith case against journalists and news corporations were a threat to high school students having access to information that they should be aware of!
Something else that I attempted to do here was to include some persuasive devices! To quote my Statement of Intention, âhaving established costs as a major issue, I segued into the effect that these costs can have on journalists, listing these effects as causing journalists to âretreat, self-censor or settle for silenceâ, and through listing and sibilance in the latter half of this phrase, I aimed to make these effects memorable to listeners, emphasising the consequences of the costs of legal battles on journalists and public interest journalism.ââ
Masters and McKenzie talked about the pressure that was put on them to leave the rumours about Ben Roberts Smith be. Chris explained that his colleagues tried to convince him not to fight with Ben Roberts Smith by telling him that it was like shooting Bambi. Well, I guess in that case, he would have been shooting Bambi for shooting unarmed civilians, which sounds pretty fair to me. Nick explained that convincing their bosses to publish the story was an exhaustive process, and even after successfully having their story on Roberts Smith published, Chris said there was a propaganda war waiting for them, with their former colleagues being hired by other news corporations to criticise them and disassemble their work, with their story being put on the cover of a rival newspaper, as an attack on Chris, accusing him of smearing the memories of dead soldiers, and it was designed to intimidate and hurt him and his biding relationships with people in the military who consider him a deep friend. These attempts of BRS to silence the two are not just unfair - as students, we want to grow up in a world where people are held accountable regardless of their connections or wealth.
After explaining my argument, I backed it up with evidence by going back to the defamation case and giving practical, real-life examples of how this case may have worked to hinder the quality of public interest journalism. I took much of the information in this section from the podcast that I talked about earlier (where Masters and McKenzie talked about their firsthand experiences) - for example, the so-called âpropaganda warâ that Masters faced after having the story published, rival news outlets who were on the side of Roberts-Smith publishing articles attacking Masters - and explained that this was designed to intimidate the two investigative journalists and deter them from exposing controversial stories against prominent figures. I not only told but also showed my audience that legal battles were a very real threat to journalism. I referred to this section of my speech as âpersonal anecdotesâ in my Statement of Intention and I wrote that I hoped to make my speech more convincing by illustrating the consequences of legal battles that Masters and Mckenzie experienced firsthand.
I tried my best to not make this section sound too much like a âhe said, she saidâ situation by slipping in some of my own commentary. My tutor at the time (yes, I also had an LSG English tutor !) gave me the idea of mirroring âshooting Bambiâ with âshooting unarmed civiliansâ, and it was so brutal but I liked it so much that I decided to implement it as part of my commentary. In my Statement of Intention, I wrote that this comparison âaims to portray Masters and McKenzie as merely holding him accountable for his actions rather than bullying him, encouraging audiences to view journalists as necessary whistleblowers that require protections.â
My final sentence in this section worked to link all of this back to the audience and remind them, again, why all of this was relevant to them!Â
The Conclusion
Itâs obvious that in the end, it didnât really matter that, this time, the courts sided with the journalists and news corporations in this legal battle. Because the reality is that the fact that this legal battle existed in the first place has been enough of a threat to public interest journalism, with cover up attempts and pressures to retreat, and may be a sign of many other stories being covered up. If two journalists, working for big news companies, felt the chilling effect of the legal battles that they came across, how much worse is it for smaller news organisations or independent journalists, who donât have the deep pockets that The Age, Masters and McKenzie had in withstanding these challenges? This is only the tip of the iceberg of other stories that need to be broken and known by the public. We canât continue to allow the law to be weaponised against journalists and against democracy. Thus, the recent conclusion of the Ben Roberts-Smith defamation case is a sign that more should be done to protect public interest journalism.Â
In my concluding paragraph, I did three things:Â
- I wrapped up
- I aimed to evoke a sense of urgency on the issue (the bolded part)
- I restated my contention at the very end to seal the deal
I didnât exactly include a call to action in the part where I evoked a sense of urgency, but you totally could if that would work for your speech!Â
Itâs optional to restate your contention as your final sentence, and I opted to do this. I wanted to emphasise the point of my speech again so that my conclusion didnât sound like it was straying away from the actual contention. Iâd say do it if it flows well with the rest of your conclusion because when itâs done right, it really is like ending your speech with a bang!
Iâve Finished Writing a Killer Oral Script. What Now?
When youâve perfected your speech script, itâs practice time! The way you present the speech is arguably as important, if not even more important than the script itself - presenting your speech in an engaging way can really make your script shine while presenting it in a dull way can make even the best script sound unappealing.Â
Practice saying your speech out loud as early as possible and work towards having at least 85-95% of your speech committed to memory (especially if youâre paranoid and get anxious about public speaking like me). By the time I presented my Oral, I had memorised about 95% of my speech and the fact that I knew it off by heart gave me confidence and helped me feel less paranoid that I would mess up. This being said, I would definitely recommend having cue cards with dot points of your main ideas or little prompts with you in the presentation (which I also did), just in case you suddenly blank out!
I spent a week memorising my speech, reciting it out loud over and over again in my bedroom. In doing this, I pretty intuitively found the spots where I wanted to include pauses, change up my intonation or emphasise certain words or phrases - I committed these things to my muscle memory. If public speaking doesnât come naturally to you, it might be a good idea to highlight and annotate your script and physically write in the parts where you want to include pauses or emphasise words. Practice with that script in front of you until youâve memorised those things.
I also generally focused on my projection making sure to speak loudly, and I paid attention to my speed and diction. I tend to speed up and start rapping my speech when Iâm nervous, so I made a conscious effort to speak slower and steadier in my practice runs, trying to engrain the perfect speed in my muscle memory (to varying levels of success haha). I also tried to make sure I was pronouncing everything clearly and that I wasnât mumbling.
Before I started my presentation, I took a moment to take a deep breath, shake out my nerves and fix my posture. Good posture is the first step to feeling confident or faking confidence (which we all are when weâre up there)!Â
What I Wish I Had Done Before I Did My Oral Presentation
If I could go back and give my Year 12 self advice on the Oral, it would be this:Â
Practice saying my speech in front of someone.
I was pretty shy about my speech - you might relate - so I was very reluctant to practice my speech in front of my peers and even my friends. Unfortunately, this meant that I never practised it in front of another person at all, not even once. This is something that I really regret because I didnât get to practice keeping a good balance between holding eye contact and looking at my cue cards. This ended up being a criticism from my teacher when she assessed my presentation! My teacher also criticised the fact that I didnât hold an equal amount of eye contact throughout the whole classroom - she wrote that the right side of the classroom must have felt left out because I barely looked in their direction, haha! So, if you can, I really recommend getting out of your comfort zone and practising presenting your Oral in front of your friends or family members⊠and practice holding eye contact!
If youâve made it to the end of this blog post, Iâm assuming youâll be having your Oral Presentation soon. Good luck, and try to enjoy presenting your speech if you can, because itâs the first and last time you will ever have the opportunity to present it!Â
For more help with your Oral, see our Ultimate Guide to VCE Oral Presentations .Â
My Full Oral Presentation Script: More Should Be Done To Protect Public Interest Journalism
Let me take you back in time. Six years ago, in 2017, many of us in this classroom were in Year 6, probably sitting in a primary school classroom, learning what an isosceles triangle is. And obviously, we had all been paying attention because now everyoneâs thinking, âOh yeah, I remember what an isosceles triangle is!â and weâre all imagining a tall triangle that looks like this.
Now, while our Year 6 teachers were providing us with the life-changing information that is the different types of triangles, something bigger was happening on Collins Street. A huge news sausage was in the making. Picture this: a conversation between two passionate and overworked journalists, working for The Age and The Sydney Morning Herald. One of which had heard whispers from his contact book of Australian military circles that our most decorated living soldier was not the person that everyone thought he was, and that he had in fact been involved in war crimes like the killing of unarmed civilians. A shared desire to put these rumours to the test, with an open mind, wanting to disprove them as much as to prove them.Â
This marked the start of a 4-year long legal battle in the form of a defamation lawsuit lodged by decorated war vet Ben Roberts Smith against two investigative journalists, Chris Masters and Nick McKenzie. And, after more than 100 days of hearings, this battle recently ended, with the judge ruling overwhelmingly in favour of Masters and McKenzie that what they had reported about Roberts Smith was substantially true, hence the two had not defamed him.
ABC News called it a win for public interest journalism. So why have I brought up this case today to highlight that not enough is being done to protect public interest journalism?
Legal battles in general are a huge issue for journalism because they can be used as a threat to journalists. This defamation lawsuit was only the tip of the legal iceberg for Masters and McKenzie. They also faced challenges to source protection and Roberts-Smithâs numerous attempts to silence the two and other witnesses by sending them legal letters telling them to shut up, to suppress the truth about his actions from coming to light.
Itâs obvious that in the end, it didnât really matter that, this time, the courts sided with the journalists and news corporations in this legal battle. Because the reality is that the fact that this legal battle existed in the first place has been enough of a threat to public interest journalism, with cover up attempts and pressures to retreat, and may be a sign of many other stories being covered up. If two journalists, working for big news companies, felt the chilling effect of the legal battles that they came across, how much worse is it for smaller news organisations or independent journalists, who donât have the deep pockets that The Age, Masters and McKenzie had in withstanding these challenges? This is only the tip of the iceberg of other stories that need to be broken and known by the public. We canât continue to allow the law to be weaponised against journalists and against democracy. Thus, the recent conclusion of the Ben Roberts-Smith defamation case is a sign that more should be done to protect public interest journalism. Â
The life of an English teacher during assessment time is miserable. This is great for us! If you know how to use their misery to your advantage.
Hello, I am here to teach you how you can claim some easy English points off these poor, poor, professors. Letâs begin đ
1. Engage with the historical context
This should be a baseline expectation! Yet, if I had a dollar for every student I see launching into an essay not even considering the socio-cultural context in which their book was written, Iâd have enough to purchase the VCAA institution and have historical context made mandatory with the punishment being immediate expulsion from VCE.
Just put some historical context into your introduction, itâll make it beefier and add some spice to your essay. Historical context generally entails listing the form (novella, play, etcâŠ) of your text; the time period in which it was written (Victorian, 20th century, etcâŠ), its genre (Gothic, biographical, etcâŠ), and finally, any of the relevant literary titles it could be classed under (Romantic, Feminist, post-colonial, etcâŠ)
For example: âMary Shelleyâs Victorian Gothic Romantic novella FrankensteinâŠâ
Bonus points if you can actively engage in a set of philosophical ideas that were present at the time, eg: âAge of Enlightenment valuesâ, or the âFeminist movementâ.
2. Write a strong introduction
You must impress an assessor within two minutes. With this in mind, what do you think looks better: a little five-line intro vaguely outlining your points and just barely tickling on the structure and context of the texts; or a sprawling introduction which hits the historical context on the head and articulates beautifully the direction your essay is going and how it plans to get there. Itâs a simple Virgin vs Chad dichotomy, be a chad, write a strong introduction.
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3. Clear and concise topic sentences
Your topic sentences NEED to be easy to read and easy to follow. Apply the K.I.S.S rule here (Keep it Simple, Stupid). State the point of your paragraph with clarity, there should be nothing too complex or vague about it. For example: âThe architecture of Frankenstein enables the story to act as a cautionary taleâ. If you feel you cannot encapsulate your topic within a single sentence, then I suggest dialling back the complexity of your paragraph topic. Remember, text response is a process of stating a concept, then proving it â nothing more, nothing less.
You know âGrammar Nazisâ? Well English assessors are Grammar Hitlerâs. Make sure your expression is on point. Avoid run on sentences, break them up with full stops, a comma is not a substitute for a period.
5. Understand language
Iâm hoping we all know what verbs, adjectives, adverbs, nouns, conjunctions and etcetera are here? This kind of rather basic English knowledge can seriously pepper up your analysis once you understand how language works. Begin by simply noting how an adjective modifies a verb within a sentence and what affect that has. Once you master this, you can move onto actually classifying the language under specific tones; for example: a pejorative verb, or a superlative adjective of degree. Iâll throw a few free ones your way! A pejorative verb is a doing word with negative connotations, such as: âpenetrateâ or âmolestâ. Whilst a superlative adjective is a describing word of the highest degree, for example: âgrandestâ or âcalmestâ (as opposed to simply âgrandâ or âcalmâ. Although this language seems complex, itâs deceivingly simple once you understand some basic English rules.
6. Write about structure
Structure is the âsecret high scoring English students donât want you to know!!â If you arenât writing about structure, then you are missing out on an absolute gold mine of analysis. If you understand how structure works within a text and can write it out coherently youâre essentially guaranteed a 40+. Yâall may call that an exaggeration, but knowing how to write about structure in an essay is like crossing the threshold, your eyes become open â you attain nirvana. Structure is the Bifrost which separates the land of Gods from the land of mortals. Some good ways to begin thinking about structure include: pondering how the text begins and ends, does it begin as a jovial and upbeat story and end as a depressing mess, why might the author have structured the text this way? Or, think about which characters we follow throughout the text and what journey they undergo, are their multiple narrators? Why might this be relevant or what may the author be trying to emphasise? Another great one is just looking for recurring themes and motifs across the text, such as a repeated phrase or similarities between characters. The key to writing on structure is understanding how the text has been structured, and then connecting that to a meaning or using it to support your contention.
7. Structure your essays
PSYCHE IâM STILL NOT DONE TALKING ABOUT STRUCTURE. Structure. Your. Essays. I cannot stress this enough, use TEEL (topic sentence, evidence, elaboration, link), use whatever your teacher taught, but use it! This one is especially important in language analysis, legit, lang anal essays are almost 100% structure, just WHW (what, how, why) your way through that essay. Once you understand how to structure an essay, everything else improves. So, structure your essays!!
8. Write about allusions
Now weâre getting into the big boy material. An allusion is any reference within a text to another text. So when Peter Griffin from Family Guy pokes fun at the Simpsons, he is making an allusion to the Simpsons. Or when your protagonist happens across a bible verse, that is a biblical allusion. Whenever I hear a student mention a literary allusion, my day improves and so does their mark. Most every text has allusions in it somewhere, do your research. Frankenstein has Rime of the Ancient Mariner, about half the books on the planet have biblical allusions, just ask your teacher or research online and youâre bound to come up with some excellent analysis material. Bonus points for allusions to classic texts such as: the Faust mythos, Greek/Roman tales such as Prometheus, the Bible, Paradise Lost, etcâŠ
9. Reference influential philosophical ideas
This one is eating from the tree of knowledge. Including a philosophical concept in your essay immediately places you in the upper echelons. It separates plebs from patricians. Youâll have to do a bit of research here, but it is well worth it. Once you can mention that an idea is âcharacteristic of the Romantic periodâ, or that a concept is âLockean (referring to John Locke)â, youâre balling, youâll be hustling A+s in no time. Bonus points for philosophical ideas that were relevant to the time period (historical context, remember).
10. Authorial Agenda
Referencing the authorial agenda is just minty fresh, it demonstrates a clear understanding of concepts even beyond just the text itself. Guaranteed to put a sparkle in your teachersâ eye. Although adding authorial agenda augments your essay extraordinary, donât overdo it.
If you made it to the end of this then great work! Proud of you <3. Including these tips in your essays is a surefire way to push them to the next level. For sticking through, Iâll give you a few quick bonus tips. Have pre-prepared zingers: you should write out and memorise a few bits of analysis that are intensely high quality, (do it in your own writing) this not only helps with ironing out your language, it also ensures youâll have some mic drops in your essays. Analyse all included images and titles: this oneâs just for language analysis, but you should analyse everything, including logos! And finally⊠RESPOND TO THE ESSAY QUESTION, this should be a given but there are hordes of people just spewing out words which are absolutely irrelevant to the actual essay topic.
Thanks again for getting this far, unless you just scrolled to the bottom hoping for a TLDR. I wish you all best of luck in your VCE and the exam season, try to make it enjoyable đ
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- Mar 28, 2020
Comparing Arthur Miller's The Crucible and Rosalie Hamâs 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 characterâs 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 âflockâ, however other terms such as âmobâ and âherdâ may be more applicable in certain sections.
Tillyâs reemergence exposes the swift and lasting justice of the rural community as the townspeople wonât forget the past and continue to ostracise Tilly. Hamâs description of âThe Hillâ 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 ârenovatedâ 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 novelâs end, most characters have succumbed to the pressures of their personal lives or the expectations of those around them. The âcostumesâ 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.
Millerâs 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 theyâve 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 âvirgin forest...the devilâs last preserveâ. 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, âEverybody knows everything about everyone but no one ever tittle-tattles because then some elseâll tell of them. But you donât matter â itâs open slather on outcasts.â
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 âone can only pity them allâ 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 oneâs 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 itâs 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 peopleâs trust in authority and fear of Danforthâs 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 âflockâ, 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
Weâve 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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An Ultimate Guide to Comparing The Crucible and The Dressmaker
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Whilst Arthur Millerâs The Crucible and Rosalind Hamâs The Dressmaker diverge in their structure, form, setting and focus, they share a thematic exploration of social oppression, hypocrisy and power. Millerâs allegorical play satirises the imposition of power of authoritarian regimes, namely, the theocracy governing Salem and the McCarthy government. Oppression in Dungatar, in contrast, is not institutionalised. Social conventions and customs are set by community members; the punishment for social deviants is usually marginalisation and ostracisation in Hamâs world, whereas sanctions for violations in Millerâs world manifest more violently - in the forms of execution and corporal punishment. Hamâs focus is therefore on the socially repressive world of Dungatar, together with the role of religious bigotry and prejudice in coercing disenfranchised individuals.
Both texts criticise the disproportionate maltreatment of outcasts, who are more susceptible to institutionalised and social execution. The experiences of marginalised characters are depicted vividly in both The Crucible and The Dressmaker , with some characterised by a lack of agency. However, the authors do not see them as mere victims defeated by society, but empowered individuals with the power to change. Millerâs protagonist, John Proctor, and Hamâs eponymous âDressmakerâ, Tilly Dunnage, both contribute to the disintegration of their respective corrupt societies. Both Salem and Dungatar, despite the differences in the endings, become purified, with the courts losing their power in the former case and the town burnt to the ground in the latter.
Notes: If you enjoy this blog, don't miss out on our upcoming $5 Crucible & Dressmaker lecture by Tara Niemes (50 in English) to learn how to write a perfect scorer in the exam. See bottom corner of this page!
Both Dungatar, in Hamâs The Dressmaker , and Salem, in Millerâs The Crucible , are insular communities governed by strict systems of values and norms. These rigid societies are challenged by unexpected external forces: the arrival of witchcraft in The Crucible and Tilly Dunnageâs return in The Dressmaker. Yet, these external events do not catalyse social disintegration themselves but test these communities' strength and unity.
Religion and Superstition:
Religion serves as a critical plot device in both The Crucible and The Dressmaker , yet the texts depict the impact of faith and superstition in distinct ways. Miller refers to the witch hunt in Salem as a "perverse manifestation" of "panic," stemming from the town's stringent religious laws, which create a stark dichotomy - one is either with the church or against it. This dichotomous religious framework underscores the hollowness of such religious tenets. In contrast, Ham explores the perils of blind reliance on religion. Ham illustrates this through Mr Almanac, who staunchly believes that âall thatâs needed is Godâs forgiveness,â refusing to seek medical help for his ailing wife, Irma. This tragic blindness to the practical needs of life underscores the pernicious impact of unquestioning faith.
Notes: Religion also impacts charactersâ internalisation of guilt.
In the maelstrom of mass hysteria and fear where "vengeance walks Salem," Miller focuses on the burden of guilt experienced by those with true humanity and conscience. This internal guilt and shame have a greater impact on a person than external judgments. Characters who cannot forgive themselves often suffer more, as they must wrestle with their conscience. Miller exemplifies this through the character of John Proctor, a man tormented by internal guilt due to his affair with Abigail. His guilt is so immense that he declares he will âcut off [his] hand before [heâll] reach for [her] againâ. His internal struggle manifests in denial, as he attempts to convince himself that he and Abigail ânever touchedâ. However, his guilt only leads to heightened tension in his relationship with his wife, Elizabeth. Proctor's self-judgment eventually pushes him to blame Elizabeth, unable to recognise that the âmagistrate sits in [his] heart that judges [him]â. This powerful self-realization eventually drives him to public confession, and in doing so, he finds emancipation from his guilt and shame, transforming his pain into altruistic action.
Miller's The Crucible contrasts with Ham's The Dressmaker , where religion and superstition become conduits for self-blame. The protagonist, Tilly, becomes a character consumed by internal guilt following the tragic death of her son, Pablo. This guilt is manifested through physical ailments, a âfeverish nauseaâ which âchurn[s] in her stomachâ. Tilly endures the âsour peopleâ of Dungatar as a form of self-inflicted âpenanceâ. But unlike Proctor, who is guilty of his sin, Tilly imposes unwarranted blame upon herself. However, she eventually realizes her innocence, symbolised through a heartfelt confession shared with Molly, her mother. This realisation leads to Tilly's liberation from her guilt, metaphorically represented by the fire that obliterates Dungatar, thereby rejecting the unwarranted guilt that dominated her life.Â
While Proctor's redemption comes from acknowledging his sin, Tilly's freedom comes from recognising her innocence, highlighting the different approaches to guilt in both texts. Thus, both Miller and Ham explore the conflicting attitudes towards internal guilt which pervade human nature. They celebrate the freedom that comes with the cleansing of guilt, albeit achieved through distinct narrative routes.
Gender Roles:
Both Miller and Ham unpack stereotypical gender roles within their narratives, although the focus on gender may be more explicit in The Dressmaker than it is in The Crucible.
In The Crucible , the era's Puritanical ideals uphold patriarchal expectations, resulting in men, like John Proctor, being celebrated despite their flawed behaviours. Proctor is revered and even feared, despite his acts of lechery, gaslighting, and relations with a young employee, violence, and threats. These potentially misogynistic undertones could be influenced by Miller's personal context, as he had an affair in the 1950s, and Proctor might reflect some aspects of his own life. Likewise, Evan Pettyman, a figure of authority, enjoys the societal perks of his gender. Despite not being the primary breadwinner, he maintains dominance over the women in his life. Lesley Muncan similarly fits the heteronormative mould by marrying Mona and suppressing his self-expression. Sergeant Farrat initially conforms to societal expectations, concealing his cross-dressing habits, but eventually discloses his true self, symbolising the "clock set wrong".
Women like Elizabeth, who conform, suffer silently in the face of societal expectations. She blames herself for the "wintry house," implying the belief that women are their husband's property and are responsible for their happiness. She is depicted as a dutiful wife, her minimal responses to Proctor's conversation illustrating the societal expectation for women to suppress their feelings and opinions. Similarly, Mona's marriage to Lesley reflects her conformity to societal norms, as does her tendency to partake in gossip and slut-shaming.
However, women who defy societal norms experience liberation and empowerment. Abigail is portrayed as seductive and deceitful, with an âendless capacity for dissemblingâ facilitated by her feminine beauty. She subverts the expectations of her gender by leveraging her beauty and manipulative skills to rise to the position of power â where the crowd âparts like the sea for Israelâ as she walks past. She openly defies societal norms through her lies, sexual behaviour, and occult practices in the forest, using these transgressions to expose the pretence of Salem. This parallels Tilly's refusal to conform to societal norms allowing her to navigate her own destiny, underlining Ham's subversion of traditional gender roles.
Ham further challenges heteronormative expectations through the secret lesbian relationship of Nancy and Ruth, hidden due to societal pressures. Their plight represents the silent struggle of those who could not conform to heteronormative norms during this era. In sum, Miller's work demonstrates the patriarchal norms of the Puritan era while Ham uses her narrative to challenge and subvert traditional gender roles.
Social Status & Injustices:
Both texts delve into the profound influence of social roles, underscoring the vulnerability of society's 'easy targets' such as women, people of colour, and those with mental illnesses. Ham demonstrates this societal injustice through the character Molly, who discerns that "it's open slather on outcasts". Similarly, the McSwineys, living near a rubbish tip, are metaphorically positioned as the town's outcasts.
Parallel to Ham's portrayal, Miller showcases the character of Tituba, a woman of colour and a slave, who faces discrimination and mistreatment. Parris dismissively orders, "Out of my sight!", highlighting her low social standing. The narrator notes how "her slave sense has warned her that, as always, trouble in this house eventually lands on her back", further demonstrating the disproportionate blame and punishment she receives. Sarah Goody, an older, impoverished woman, also endures societal persecution due to her vulnerable position.
The protagonists, Proctor and Tilly, serve as the paradox within their societies. Proctor remains rooted in his Christian ideals, in contrast to the hypocritical society that claims to uphold the same virtues. He becomes the sacrificial lamb, bearing the brunt of societal injustice to expose the flawed system. Tilly, an outcast in her community, follows a similar trajectory.
The roles of Danforth and Farrat provide a juxtaposition of how those tasked with upholding justice can fail to do so. Danforth subverts his duty by actively encouraging injustice, while Farrat, though passive in his neglect, offers some support to Tilly when she falls victim to social injustice.
However, not all perpetrators face justice. The narrative depicts a concerning impunity: Reverend Parris and Danforth maintain their powerful positions despite their actions. Yet, this is not absolute. There are instances where justice catches up with those evading it, like Evan Pettyman who, after evading punishment for his misdeeds for decades, is eventually killed by Marigold. Similarly, Parris experiences a fall from grace, losing his wealth and reputation.
Moreover, the citizens of Dungatar face collective retribution when their houses are burned down, leaving them uninsured. This contrasts with the reality of The Crucible , where not everyone faces justice, reflecting the difference between the fictional nature of both The Dressmaker and the historical realism of The Crucible . Hence, both texts offer incisive critiques of societal norms, exploring the unjust consequences of societal roles and the varying degrees of justice served.
Hysteria and Reputation:
Both Dungatar and Salem are insular communities, governed by a strict system of values and norms. The creation of chaos in both texts is contemporaneous with the intrusion of unexpected external forces: the arrival of witchcraft in The Crucible and Tillyâs arrival in The Dressmaker . However, these events do not catalyse social disintegration themselves but merely put the community's strength and unity to a test.Â
Bettyâs affliction, caused by the âDevilâs touchâ, causes paranoia and prompts irrational responses. As Salemâs social order is founded upon religious bigotry, the court resorted to dogmatic approaches in resolving the matter. Miller shows that the community is very susceptible to deceit, especially if the false remarks align with their beliefs, and how such a tendency paves way for opportunism. The truthful words of social outcasts are disregarded, whereas the malignant accusations of conformists are valued by the court. Division is created as a result of Salemâs mob mentality.
Tillyâs trauma is caused by the Pettymansâ baseless accusations and attribution of blame. Her arrival reminds them of their mistreatment of an innocent child, a past characterised by bullying, abuse and corruption. When the âbastardâ returns, the communityâs true self emerges, as exemplified through the prejudice, and at a later part, jealousy manifested.
Millerâs didactic American realist style allows him to depict the parallels between the contagious spreads of unfounded accusations in the repressive system of Salemâs theocracy and McCarthyism.Â
Conclusion:
"The Crucible" and "The Dressmaker" offer profound insights into societal norms, power dynamics, and the role of religion and gender. Through their vivid narratives, they expose the pervasive influence of hysteria and reputation in shaping societal behaviors. Importantly, they depict the experiences of marginalized characters not as victims defeated by society, but as empowered individuals capable of instigating social change.
TLDR & FAQs:
How does The Dressmaker relate to The Crucible?
The Dressmaker by Rosalie Ham and The Crucible by Arthur Miller, though distinct in their settings and plots, share numerous thematic similarities.
- Social Hierarchy and Marginalisation: Both novels depict close-knit communities characterized by stringent social hierarchies, where nonconformity is met with hostility. In The Dressmaker , Tilly is ostracized due to her mother's reputation and her own accused crime. Similarly, in The Crucible , characters such as Tituba and Sarah Good are marginalised due to their race and socioeconomic status.
- Abuse of Power: Power dynamics play a significant role in both narratives. Figures like Judge Danforth misuse their authority, leading to wrongful executions in the Salem witch trials. Likewise, characters like Evan Pettyman in Ham's text exploit their positions for personal gain, resulting in an oppressive and unjust environment.
- Guilt and Vengeance: These novels also delve into the human experiences of guilt, vengeance, and redemption. John Proctor grapples with his guilt over his affair with Abigail, leading to a tragic end. Tilly in The Dressmaker , on the other hand, deals with guilt over her supposed crime in childhood, ultimately finding a form of redemption through her fiery vengeance on the town that ostracized her.
- Hypocrisy: Both Miller and Ham criticize the hypocrisy prevalent within their societies. The puritanical society of Salem, despite its claims of piety, is depicted as deeply flawed and hypocritical. Similarly, the outwardly respectable community of Dungatar is revealed to be morally corrupt underneath its facade.
What is the key message of The Dressmaker?
- Critique of Small-town Hypocrisy: The novel harshly critiques small-town mentality and the dangerous consequences of unchecked gossip and hypocrisy. Dungatar, the setting of the book, appears charming and simple on the surface but is ridden with secrets, lies, and injustice.
- Power of Redemption and Self-discovery: The protagonist, Tilly, returns to her hometown seeking personal redemption for a crime she was accused of in her childhood. In the process, she embarks on a journey of self-discovery, realizing her worth and skill, which she uses to transform the town's women and later to exact her revenge.
- Consequences of Prejudice: The narrative underlines the lasting impact of discrimination and unjust treatment on individuals. Tilly's ostracization has deep psychological effects, which she only begins to resolve after many years.
- Power of Female Empowerment: Despite being set in a patriarchal society, the book emphasizes the power of female resilience. Tilly's character is a symbol of defiance against gender norms and expectations.
- Cycle of Vengeance: The novel also explores the destructive cycle of vengeance. Tilly's quest for justice leads to the devastation of Dungatar. This suggests that revenge, while cathartic, can have harmful consequences.
What is the key message of The Crucible?
- Hysteria and Fear Can Lead to Destruction: A central message of the play is that mass hysteria, when fueled by fear and suspicion, can lead to irrational behaviors, false accusations, and ultimately devastating consequences. The witch trials, in this case, serve as a symbol of how societal panic can destruct a community.
- Importance of Reputation: The play heavily emphasizes the importance people place on their reputations in a society. Characters like John Proctor and Rebecca Nurse are overly concerned about their public image, which significantly influences their decisions. However, the message is that the truth and moral integrity should be valued over public reputation.
- Integrity and Personal Honor: Perhaps the most potent message is the emphasis on personal integrity. John Proctor chooses to die rather than sign a false confession, showing that he values his personal honor over his life. This act illustrates the theme that maintaining one's integrity is more important than preserving one's life.
- Critique of McCarthyism: The Crucible was also written as an allegory for the anti-communist hysteria during the McCarthy era in America, drawing parallels between the Salem witch trials and the Red Scare. Miller's play carries a warning about the dangers of allowing fear to override reason and justice.
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- Essay Prompts
The Crucible and The Dressmaker
Fear/mass hysteria.
Hysteria is often devalued as a temper-tantrum but the medical term refers to a serious functional disturbance of the entire nervous system, often activated by severe stress or conflicting impulses. Mary Warren describes the classic onset of symptoms that mark her first hysterical episode in court: âa misty coldnessâ (Act 2), crawling flesh, a choking sensation, dissociation, âa screaming voiceâ (Act 2) and then the realisation that the voice was her own. Unlike Mary, who canât even pretend to faint on order, Abigail calculates the most effective moment to stage her hysterical visions of persecution. She manages to hold power over the community and as Elizabeth observes âwhere she [Abigail] walks the crowd will part for her like the sea for Israelâ (Act 2) â the sudden power that the girls have gained from their antics are surely motivation enough for them to continue the ordeal for as long as the township believe them. Mary Warren confirms the notion that the girls are enjoying their newfound power when she speaks of the âweighty work’ (Act 2) that the girls do in court as they claim to be hunting the âDevil [that is] loose in Salemâ (Act 2). Her impression that âfour judges and the Kingâs deputy sat to dinner with us [the girls] but an hour agoâ (Act 2) instils that she feels she has the right to be spoken to civilly from now on by the Proctors, her employers.
Strategically, Abby and the other girls use this power to their advantage, âscream[ing] and fall[ing] to the floorâ (Act 2) when the accused are brought before them. In the same way, Abby and the others point with fear into the rafters of the courthouse during the final court scene, screaming with fright in the belief that Mary Warren has conjured herself as a small yellow bird that Abby wails âwant[s] to tear my [her] faceâ (Act 3). Naturally, the use of spectral evidence within the courtroom (evidence that the accused spirit or spectre appeared to the victim and hurt or threatened them, despite the actual accused person being elsewhere and accounted for) condemns Mary Warren in this instance and others are likewise accused by the same means. It is madness that George Jacobs is condemned for attacking the young Ruth Putnam and Martha Corey is questioned why she âhurt these childrenâ (Act 3) without even being in the same room when the victims were afflicted, and in real life the use of spectral evidence was dismissed when officials cited the ridiculous nature of the Salem trials as evidence of the absurdity.
In the same way, the town of Dungatar become madly enthralled with the dressmaker Tilly after it becomes evident at Gertrude and Williamâs wedding that she is âan absolute wizard with fabric and scissorsâ (Part 2) and the right creation for the bride-to-be was magnificent enough to make her feel âsafeâ (Part 2) and secure that her groom would not stray from her. Tillyâs bespoke creations become much sought after as women begin to see the power that the seductive gowns designed specifically for them are able to do; making them feel confident whilst also bewitching the men. Elsbeth and Gertrudeâs appearance wearing ridiculously unsuitable dresses âhuge and domed in yards and yards of taffetaâ (Part 2) coincides with Gertrude announcing that she be hereon known as Trudy, in a chameleon like shift from the mousy daughter of a store owner to fashion extraordinaire.
The womenâs obsession with the âexquisiteâ (Part 2) new gowns that they believe will âset[s] women back ten yearsâ (Part 2) grows into a mania to acquire the same exact look and in some situations, the same lifestyle as the super models in Tillyâs fashion magazines â she [Nancy] âheld the January edition of Vogue up in front of her and pointed to a model in an elegant tapered trouser suit in bright swirling colours. “See her? Thatâs what I want.”‘ In this instance, the impressionable Nancy Pickett, who is in a secret lesbian relationship with Ruth Dimm, associates fashion with her desire for women.
The repercussions of Tillyâs creations filter through and become a mad competition between the women as they exclaim their sole reason for purchasing such extravagant gowns to be that they âhave to look better than everyone elseâ (Part 2) and whilst the Pratts’ haberdashery counter expanded with new materials to cater for a more couture crowd, so did the citizens’ rivalry of one another.
This intense hysteria culminates in the final part of the novel; when tensions reach an all-time high as the performance evening for the Eisteddfod play rapidly approaches. The cast go from âprogressing slowlyâ (Part 4) through the rehearsals to âlooked[ing] increasingly stressed and tiredâ and finding little joy in the practice that has become a laborious task, often causing âsomeone⊠any other lousy actor here⊠[to have] a bit of a bawlâ (Part 4) and the fractious crew bicker constantly. The deterioration of Trudy throughout the rehearsals seems fitting but nonetheless is a jarring incident to occur to someone so young and over something as trivial as a county play; but connections can be drawn between the âscreeching and poundingâ (Part 4) Trudy who claims that the glory is âMINE, MINEâ (Part 4) and the heinous Lady Macbeth, the character Trudy was originally intended to portray in the play.
Likewise, the intense hysteria that plagues the people of Salem is given way over reason, and any reliable cross-examination that consistently casts doubt on the accusers is dismissed in favour of rooting out the devil and cleansing the village. The deposition signed by many that the women (Martha Corey, Rebecca Nurse and Elizabeth Proctor) are women of good character is not only unheeded by Danforth but he issues warrants for each of the signatures, dismissing the argument that âso many of the women have lived with such upright reputationsâ (Act 3) in favour of accumulating more suspects. Likewise, when Proctor casts his good name aside and admits to adultery with Abigail, Elizabeth lies to protect his reputation and instead of seeing the logic in this ânatural lieâ (Act 3), Danforth becomes swept up in the hysteria and believes Proctor and his wife to be âcombined with Anti-Christâ (Act 4).
The villageâs prodigious fear of the devil and the âblack allegianceâ (Act 4) that they so readily believed could overrun them is acute. Although Haleâs visitation to the town eases concerns momentarily as he refers to the Devil being âstripped of all his brute disguisesâ (Act 1) by his skill set in detecting those afflicted, his sensibility is soon cast aside for the more frenzied âthundering wrathâ (Act 2) that Hale warns has been drawn down from heaven on the village; Hale becomes irrelevant and becomes akin to the livestock that wander the roads abandoned, sporting a âmad lookâ (Act 4), as he makes his way from one accused to the next seeking a confession that will save their lives. The hysteria has gripped the town entirely and Hale notes that there are âorphans wandering from house to house, abandoned cattle bellow on the highroads, the stink of rotting crops hangs everywhereâŠâ (Act 4); Salem is in disarray and the last remaining few that possess logic and sense are set to be executed that very morning.
Similarly, Dungatarâs suspicious notions about Tillyâs return to their quaint town are completely unfounded but nevertheless, cause havoc. Their constant gossiping and snide comments ostracize Tilly and by proxy, her mother Molly, as the townspeople venomously believe that âsheâs [Tillyâs] up to no good that one, worse than her motherâ (Part 2) and that she âcan never make up for itâ (Part 1) when referring to the accidental death of Stewart Pettyman. The women are in hysterics that the âdaughter of Mad Molly is back â the murderess!â (Part 3) and quake at the sight of Tilly when she and her mother venture down to town for supplies â âThe nerve of that girl⊠not naturalâŠâ (Part 1). Despite Teddy teasing Tilly that âIâm [heâs] the one that should be frightened of you [her]â (Part 1), Tillyâs notion that bad luck follows her is cemented as the residents of Dungatar begin dying and Tilly fears their wrath more than ever when Teddy passes and irrespective of Farratâs attempts to re direct the blame, Tilly is in their sights â âTilly feared football defeat would send the people to her, that they would spill wet and dripping from the gateway of the oval to stream up The Hill with clenched fists for revenge blood.â (Part 4)
Fear and Mass Hysteria Quotes
Edward always remembered the look on Evanâs face at that moment⊠when he realised fully what it all meant, what it had come to. (Edward McSwiney reflects on when he told the town how Stewart Pettyman had died) Part 3
âAbby, weâve got to tell, Witcheryâs a hanginâ error, a hanginâ like they done in Boston two year ago! We must tell the truth, Abby! Youâll only be whipped for dancinâ and the other things!â (Mary Warren is frightened about keeping the truth from the courts) Act 1
âNonsense! Mister, I have myself examined Tituba, Sarah Good and numerous others that have confessed to dealing with the Devil. They have confessed it!â âAnd why not, if they must hang for denying it? There are them that will swear to anything before theyâll hang; have you ever thought of that?â (Hale and Proctor arguing about the accused) Act 2
Judgement and Justice
In a small rural town in Outback Australia in the 1950s, residents will do almost anything to protect their reputations. In addition, peopleâs reputations follow them around for decades and even remain long after those with them have left the town.
Tillyâs reputation as a murderess resonates in the small-minded residents of Dungatar, and even her hiatus to Europe where she trained under the prestigious fashion magnates of Paris was not enough to erase the memory of her association with Stewart Pettymanâs death. The judgement upon Tilly is so acute that William uses it as leverage to marry Gertrude when his mother sees through the young girls ploy to trick him into marriage using sex. Knowing that Gertrude would be his motherâs preference, he threatens Elsbeth that âitâs either her [Gertrude] or Tilly Dunnageâ (Part 2) to which she resigns.
This notion doesnât escape Molly, who reminds her daughter that âeverybody knows everything about everyoneâ (Part 1) but the townsfolk have learnt not to gossip about one another, lest âsome [one] elseâll tell of themâ (Part 1). This perpetual tit-for-tat speaks of childishness in the dynamic characters of Dungatar who lack the intelligence to understand the social politics of living in a small town. It is not only the outcasts of the town that are victims of the âopen slatherâ (Part 1) but anyone who seems to have stepped out of line. The morning after the dance, the local ladies natter between themselves excitedly with âyouâll never guess what she wore⊠or almost woreâ (Part 2) and donât hesitate in openly condemning Tilly and assuming âsheâs up to no good again, that oneâ (Part 2) in an effort to keep the hatred and distrust for Tilly alive. It seems that Gertrudeâs paranoia about âmy [her] reputationâ (Part 2) is well founded when they move on from Tilly and begin to attack Trudy â âand guess who Gertrude was with, all nightâ (Part 2). Hamâs skills in storytelling give us the sense that the vicious rumours are spreading like wildfire through the town when a few pages later Irma and Lois stipulate that although they are ânot gossipinâ or anythinkâŠâ (Part 2), they retell the story of Tillyâs scandalous frock and Gertrudeâs relationship status with extra assumption.
When Gertrude and William finally appear as a couple together, the sniggers of the townspeople who has already been privy to the rumour that a hasty marriage was on horizon after the two lovebirds âspent the whole night wif each otherâŠâ (Part 2) is reason enough for them to make remarks to each other on the snide.
In the same way, judging yourself and judging one another is ubiquitous in Millerâs play and the narrative pivots on how one person might judge another. Naturally, in the strict Puritan community, the looming judgment from God sees the citizens of Salem living under constant threat of condemnation. Despite Haleâs keenness to apply theological arguments and collect confessions peaceably, he soon comes to realise that the Salem courtroom is not interested in dispensing justice but instead, prides itself on imposing it. In this society, the Bible is the basis for the law and as Danforth subscribes in his soliloquy to the girls, âthe law, based upon the Bible, and the Bible, writ by Almighty God, forbid the practice of witchcraft, and describe death as the penalty thereof. By likewise, children, the law and the Bible damn all bearers of false witness’ (Act 3). From this, we can see that it is his single motive that he should hunt down all those that are afflicted and not âflounderâ (Act 4) in his quest for them. The justice that the supreme government of the province intends for the citizens of Salem is a âhot fire [here]âŠ[that] melts down all concealmentâ (Act 3) and his solution to the situation in Act 4 is to place pressure on the weakest person and break a confession from them, tells us that he (representative of the judicial system) has lost his way and in an effort to protect himself, will damn the prisoners regardless â âwhich of these in your [Parris] opinion may be brought to God? I will myself strive with them till dawnâ (Act 4).
In Dungatar, Ham reminds us that the citizens value others’ opinions of them in preference to most other things; and their attempts to improve their standing amongst the community is not only reflected on a larger scale by the women who have been ârenovatedâ (Part 2) by Tillyâs creations, but also in the minute changes the citizens conduct in order to elevate themselves to a higher social class. Whilst the âcouturiered ladies of Dungatar⊠enter[ed] the halls at three minute intervals, poised, their noses aimed at the lights⊠slowly down the centre if the hall through the gaping guests from Winyerpâ (Part 2) symbolises the superficiality of their aspirations, the sudden notion to use euphemisms such as the porch, ânow being called the back patioâ (Part 3), speaks of a deeper need to be seen as something they are not by others around them. But it seems thereâs a lesson for those that meddle and judge others â when Beula Harridene sneaks up to The Hill and overhears Tilly and Farrat drunkenly singing about their woes she is hit by a radiogram that Tilly throws out in her stupor and the wound festers in her face, becoming a âraw flesh cavityâ (Part 4) that oozes, a fitting symbol indicative of what happens to those that judge others unfairly.
Judging one another, and oneself, is seen as equally as burdensome. Proctorâs aversion to Elizabethâs suspicion is infuriating and although in his eyes, he has earned such suspicion, he believes he has tolerated it for too long and no exception has been made for his behaviour in the last seven months where he has âgone tiptoe in this house⊠since she [Abby] is goneâ (Act 2). Elizabeth acknowledges the truth that John judges himself in his actions more then any other and this can be seen in the little respect he has for himself. When Francis Nurse refuses to believe Johnâs confession of having an affair with Abby, Proctor âwish[es] you [Francis] had some evil in you [him] that you [he] might know me [him]â (Act 3) for the man that he truly is and has kept secret for seven months gone. Similarly, in his final act of redemption Proctor himself is stunned by the ability he has to stand strong under scrutiny and mount the scaffold as a truthful man, in possession of his good name â Hale: âMan, you will hang! You cannot!’ Proctor: âI can. And thereâs your first marvel that I can. You have made your magic now; for now I do think I see some shred of goodness in John Proctor. Not enough to weave a banner with, but white enough to keep it from such dogs.â Act 4
Much like Proctor, Tillyâs final appearance is met with admiration as she rises out of the mire of rumour and segregation and seeks revenge in a manner mirroring the early dramatical climax of âDeas Ex Machinaâ; whereas a complicated and seemingly hopeless plot is resolved neatly as the protagonist escapes the scene unscathed. In the case of The Dressmaker, the train that stops briefly at the Dungatar station provides the rapid getaway and Tillyâs future, although uncertain, is victorious over the villains of her hometown.
Judgement and Justice Quotes
William was slumped in a battered deckchair on what was now called âthe back patioâ, formerly the porch. Part 3
âYou canât keep anything secret here,â said the old woman [Molly]. âEverybody knows everything about everyone but no one ever tittle-tattles because then some elseâll tell of them. But you donât matter â itâs open slather on outcasts.’ Part 2
‘The others were happy to let you die. I saved you. It’s me they’ll try to kill now.’ (Tilly to Molly) Part 1
âHe spoke of love and hate and the power of both and he reminded them how much they loved Teddy McSwiney. He said that Teddy McSwiney was, by the natural order of the town, an outcast who lived by the tip.â Part 3
âThey drove up The Hill to throw rocks onto the cottage roof in the middle of the night, driving around and around, revving, calling âMurderers! Witches!â Part 3
âMy name is good in the village! I will not have it said my name is soiled! Goody Proctor is a gossiping liar!â (Abby defending herself to Parris) Act 1
âSpare me! You forget nothinâ and forgive nothinâ. Learn charity, woman. I have gone tiptoe in this house all seven month since she is gone. I have not moved from there to there without I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am doubted, every moment judged for lies, as though I come into court when I come into this house!â (Proctor to Elizabeth) Act 2
âI see now your spirit twists around the single error of my life, and I will never tear it free!â (Proctor to Elizabeth) Act 2
âNow believe me, Proctor, how heavy be the law, all its tonnage I do carry on my back tonight.â (Cheever is made to arrest many people for questioning, including Elizabeth) Act 2
âI have confessed myself! Is there not good penitence but it be made public? God does not need my name nailed upon the church! God sees my name; God knows how black my sins are!â (Proctor when the court decided his false confession should be hung publicly) Act 4
Belonging and Diversity
It is a natural human instinct shared by many other living creatures, to belong to a group, herd or tribe of some kind. There is safety in numbers; but belonging to a group has its obligations as well as benefits and depending on the group dynamics, sometimes the drawbacks of belonging to a group outweigh the advantages. The play is set in the tight Christian community network bound by strict moral, legal and religious beliefs and practices in a recently established pioneer settlement. People conform more or less to the agreed rules â they want to feel the security of belonging and they also fear the repercussions of straying from the Puritan way of life. There are however, all kinds of personal conflicts between individuals and families simmering beneath the surface that are easily stirred up when a threat to the community is perceived.
Miller himself noted that by virtue of being Puritan, a religion based on maintaining Christian goodness and unity of purpose, it is inevitable that the society must exclude and prohibit anything that appeared to undermine that cohesion. An example of this within the text is that of Sarah Osburn, the âdrunk and half-wittedâ (Act 2) citizen that is accused simply because she is different; likewise Sarah Good, an old beggar woman who was called into the court for questioning when Mary Warren believed that she had rendered her unwell when she had come begging at the door of the Proctors and she refused her charity. Notably, Mary made mention that she âsay [said] to myself [herself], I [she] must not accuse this woman, for she sleep in ditches, and so very old and poorâ (Act 2), an admittance by proxy that Sarah Good was excluded in the community and therefore a convenient target. That she and Osburn were named by Tituba, signified that according to the hierarchy of Salemâs peer groups, these three (Tituba, Sarah Good and Sarah Osburn) are at the bottom. Tituba is the minority in Salem. Millerâs stage notes take heed of the âcolour of her skin and consequent low standingâ (stage notes) which inevitably lower her in societyâs eyes and when she is placed under scrutiny in the bedroom of the afflicted Betty, notably not in a courthouse where all other accusers are given their trial, she is threatened to be âwhip[ped] to [your] deathâ (Act 1) by the village minister Parris. By openly acknowledging the race distinction when she cries out that the devil boasted âI [he] have white people belong to me [him]’ (Act 1), she contributes to the larger debate within the Salem township â one must either belong to the rest of the community or be on the outer and therefore, in peril.
Proctor reticence to attend Church, although a bone of contention for Hale as he visits the accused to ascertain the âChristian character of this [the Proctors’] houseâ (Act 2), sets him up as an outsider. His reluctance to attend court is remarked upon by Hale, as though his aversion speaks of a more sinister issue â Proctor: âI had not reckoned with goinâ into court. But if I must, I will.â Hale: âDo you falter here?â Proctor: âI falter nothingâŠâ Act 2
The decade of the 1950s is often looked back on as the halcyon days of morality and the nuclear family, but Hamâs novel reveals what remains when the veneer is striped back and we see ordinary citizens for what they are. Although Ham avoids the subjects such as race, there is segregation from the community nonetheless. The McSwiney family were âby natural order of the townâ (Part 3) outcasts and despite the fact that Mae McSwiney âdid what was expected of her from the people of Dungatarâ (Part 3) and her husband Edward âworked hardâŠfixed peopleâs pipes⊠trimmed their tree and delivered their waste to the tipâ (Part 3) they were and would always remain on the outer circle of society. It is assumed that their proximity to the tip, the presence of slow-witted Barney and their affiliation with the Dunnage women were the reasons for this but as is so often in small rural towns, sometimes there is no concrete reason and it is more a matter of demoting one group so as to elevate another. Despite this example it seems that diversity in Dungatar is hardly a reason to be considered an outsider; Nancy and Ruthâs taboo relationship doesnât exclude them from society, and in the same way, Mr Almanacâs crippled body and pious manner does not secure him a position on the outer circle of society. It seems people of necessity, such as Ruth who runs the town post and telegraph office and Almanac who concocts remedies for those that fall ill, are kept on the periphery of the inner circle for convenience. In contrast to Tituba, from Millerâs play, those that are allowed to belong to the society serve some purpose and are therefore, tolerated. However, it is those who are considerably less deserving that incur the scathing judgement of the town – such as Molly who âwished for herselfâ (Part 4) a âlife of love and acceptanceâ (Part 4) and failed to find that sense of belonging she so longed for.
The McSwiney family help bridge the gap between the lower and middle classes; Teddy is known for his congeniality to the broader townsfolk and is similarly kind and charismatic with Tilly and her mother. Despite Sergeant Farrat reminding the citizens at the funeral of Teddy that âif you [they] had included her [Tilly], Teddy would have always been with us [them]â (Part 3), the message falls on deaf ears and the Dungatar residents failed to see what their prejudice and bigotry had done to the town’s âcheeky boyâ (Part 3). In the end, the McSwineys leave Dungatar in a line of âsad, rag dollsâ (Part 3), resigned that they will never belong. Ham works to highlight this separation with the formation of the âProgressive Minded Ladies of Dungatahâ (Part 2) by Elsbeth and Trudy, who begin organising a variety of town events including âfunctions⊠fund raisers, tea parties, croquet games, dancesâŠâ (Part 2) and who later induct Ruth and Pru Dimm, Nancy and Lois Pickett, Beula Harridene, Irma Almanac and Marigold Pettyman. But instead of visiting The Hill to invite Molly and Tilly, the newly formed Dungatar Social Club, who had coincidentally âacquired an accent overnight â an enunciated Dungatar interpretation of queenly Englishâ (Part 3) insist she make them dresses to rival the others in their group. When this same social group plans to hold a play, being directly involved in the proceedings becomes essential to each of the residents and as they âqueued on the tiny stage like extras from a Hollywood filmâ (Part 4), the resident’s personalities meld together and readers begin to observe them as a collective enemy, neither one more forgivable than the other.
The fitting punishment for a the group who ostracized those around them was to suffer their fate together, and as they âwalked in a packâ (Part 4) back to their town and the fire had claimed everything, once more Ham writes about them in the collective as they âall started to cry⊠they groaned and rocked, bawled and howled⊠they were homeless and heartbroken⊠a motley bunchâŠâ (Part 4).
Despite the numerous couples and romantic dalliances in The Dressmaker , Ham promotes the idea of pure, true love with the classic couple, Tilly and Teddy. In juxtaposition to Lesley and Mona, and William and Gertrude, whose partnerships were a result of succumbing to the pressures of society, Tilly and Teddy share a deep and real love. As the novel sees William and Gertrude marry and merely exist in a loveless marriage with one another, Tilly and Teddy âmade love over and over again and were made one person in their intentionsâ (Part 3). The resignation that is shared by Lesley and Mona after the marry that theyâll âdo the best we [they] can togetherâ (Part 3) is a suffocating prospect when we consider the endless possibilities of real love as Teddy and Tilly begin to plan a full life together.
Moreover, as much as Tilly tries to fool herself that she is not bothered by what others think of her, she is acutely concerned that âtheyâll [the townsfolk] hate me [her] even moreâ (Part 2) and is hounded by their hate of her, dreaming that the men of the town âstood shaking their fingers at herâ (Part 4) and that the residents will crawl up The Hill, armed with âfirewood and flames, stakes and chainsâ (Part 4) in a twisted amalgamation of a witch-hunt. Her fears bloom just as Teddy is buried and she fears the âfootball defeatâ (Part 3) will bring people to the house baying for her blood because sheâd killed their star full forward.
After the loss of her mother, Tilly is no longer comforted by the promise Molly made to her that âitâs me and you; there is only you and you have only meâ (Part 3) – her isolation is confirmed when very few people attend Mollyâs funeral and Tillyâs blames the rain.
Belonging and Diversity Quotes
Tilly stood alone in her brilliant magenta Lys Noir gown, then wrapped her shawl tight about her and reached for the handle. (after being spat at by Evan and called names by Beula at the social gathering) Part 2
T. Dunnage was printed lightly beneath T. McSwiney but it had been scribbled out.â Part 2
⊠tragedy includes everyone⊠wasnât everyone else in the town different, yet included? (at Teddyâs funeral) Part 3
âNow, look you. All of you. We danced. And Tituba conjured Ruth Putnamâs dead sisters. And that is all.â (Abby threatening the girls) Act 1
âI think you best send Reverend Hale back as soon as he come. This will set us all to arguinâ again in the society, and we thought to have peace this year.’ (Rebecca Nurse is concerned that Haleâs appearance in the town will cause mischief) Act 1
âYour soul alone is the issue here, Mister, and you will prove its whiteness or you cannot live in a Christian country.â (Danforth to Proctor) Act 4
Truth and Lies
In Hamâs The Dressmaker , the truth has little value; instead the citizens are embroiled in malicious gossip and snide falsifications that serve only to elevate their selfish needs. By the time Tilly returns to her hometown, the manner in which young Stewart Pettyman died had far become the thing of legend. The fact that small Tilly was âcornered beside the library⊠just trying to save herselfâ (Part 3) became irrelevant and all that was remembered was the grotesque image of the âboy⊠with his neck broken and his round podgy body at right angles to his headâ (Part 3) and as such, Tilly had been sent away from the town. Such is the insidious nature of the lies told, the fateful incident caused by a barbaric child attacking another became a by-product of Tillyâs curse. Similarly, Hamâs writing in the latter half of the novel strips back the façade and the once âcouturiered ladies of Dungatarâ (Part 2) become âsnobby old Elsbeth⊠puny Mona⊠putrid gossiping Lois, leathery old sticky-beak Ruth, venomous Beulaâ (Part 3) as Tilly (and inadvertently, the reader) become aware of the true nature of these women. After their behaviour has been disclosed, Ham begins to morph the descriptions of these dynamic characters in an animalistic manner, likening them to lumbering livestock that mindlessly âtraipse[ing]â and âamble[d]â (Part 4) wherever the crowd is going; failing to think for themselves until their behaviours and words are indistinguishable from the rest of the flock.
The animalistic association is also included as Ham courageously addresses the theme of sex within the novel. The characters of Dungatar are besotted with their carnal instincts â Monaâs âquiet, evening orgasmâ (Part 1), Trudy and Williamâs inability to remain chaste until a proper marriage is conducted and Evan Pettymanâs libidinous inclinations both toward his wife, whom he frequently drugs and rapes, or the countless women he either has affairs with or harasses, the citizens of Dungatar are presented as beasts unable to rise above their most base bodily needs. The revealing nature of Dungatarâs auspicious Councillor Pettyman whose inability to get an arousal suspiciously coincides with Tillyâs vengeful concoction foreshadows his demasculinasation both literally and figuratively as his wife later learns of his affair and not only exposes his filthy collection of pornography but also slices his ankle tendon which hobbles him like âtortured elephantâ (Part 4), like the beast he is.
Although the truth behind the heinous Evan Pettyman is exposed, it does little to assuage the hatred the citizens feel toward the Dunnage family and Sergeant Farratâs honest eulogy at Mollyâs funeral captures the desperate attempts she had gone to in order to avoid the âfull glare of scrutiny and tormentâ (Part 4). The âgrey, crying skyâ (Part 4) during Mollyâs burial cements to Tilly that she is alone; the end of her family line. In the end, Farrat is her last remaining friend and suggests that they âdrink laced tea until we [they] feel some understandingâ (Part 4) in an effort to disguise their grief and avoid facing the truth.
In contrast, the truth can prove to a liberation to some; the moral idyll of the 50s era proved overwhelmingly stifling for some characters and hence, breaking away from societal expectations proved cathartic. Sergeant Farratâs penchant for womenâs clothing works in direct contrast to the reliable law enforcement model typical in small rural towns scattered across the Australian outback. Not only does he harbour the secret passion for haberdashery and artistic flair, his insight when it comes to those around him is flooring. Delivering the eulogy at both Teddy and Mollyâs funerals, he berates the citizens for their piety and espouses forgiveness and an understanding that Tilly was not to blame for the death of Teddy, even if it means bending the truth when he assures them that he âinstead [he] wrote the Teddy McSwiney had slipped and that it was his own terrible mistakeâ (Part 3). In addition, his suspicions about the ânew seamstress in townâ (Part 3) not being well travelled and not having âreceived any sophisticated trainingâ (Part 3) suggests that he is perhaps still tainted by the same judgemental affliction that the other residents have. However, Farratâs sensitivity to the affects of his actions, such as when Tilly was sent away after the death of Stewart, awards him an element of retrospection that is acutely lacking in so many of the other characters. His duality within the novel is complete when he attends Mollyâs funeral dressed in a âblack knee-length wool-crepe frock with a draped neck⊠black stockings and sensible black pumpsâ (Part 3) in an effort to both aggravate the deceased Molly whilst also paying homage to her unconventionality.
The seventeenth-century Puritan worldview saw the battle between God and the Devil for Christian souls as a titanic reality, made apparent as an ever-present spiritual conflict between good and evil. Danforth is a constant reminder throughout the text of the vast quest Puritans undertook in order to expose the lies within their community when he observes the witch-trials have unearthed a âprecise timeâ (Act 3) where the townsfolk are no longer âin the dusky afternoon when evil mixed itself with good and befuddled the worldâ (Act 3); Salem has moved under the eye of the Puritan men that would see it cleansed.
In an effort to assuage humanity, Miller condones some of the lies told within the play, if they are for the betterment of others. This notion connects well with the historical context of when Miller wrote the play, when much like Salem, accusers were pressed to name others and the temptation to alleviate some of the focus by mentioning another name was great. Like the HUAC trials, citizens were placed in situations where lies were the only viable option and as Proctor notes, the truth is not as appealing when it is only a lie that will save someone from the rope. Ironically, the only lie Elizabeth has ever told condemned the man she was trying to protect. Her reputation as a woman that âcannot lieâ (Act 3) sees her and her husband arrested and Abby set free, in a monstrous display of the inefficacy of the justice system. Likewise, Proctor’s inclination to âsign myself [himself] to liesâ (Act 4) and sign his name to a document stating that he trafficked with the devil is done in an effort to save his neck. He, like Mary Warren in the earlier court scene, wrestles with inner conflict â a moral conundrum that sees their truths condemning them to hang but their lies saving them.
In contrast to this, holding onto the truth is seen through the character of Giles Corey, who was pressed to death in an effort to force him to name an informant. The âgreat stonesâ (Act 4) that were placed upon his chest are metaphoric of the weight of âstand[ing] muteâ (Act 4) and lying in order to save others. In this way, Miller not only excuses lies but often celebrates them as a noble way to conduct oneself if the truth will be prove to be more damaging.
Furthermore, âpleading the bellyâ is a term used to describe the practice of women, who were condemned to be executed, and informed their captors that they were pregnant in an attempt to stall the sentence. The claim that Goody Good requested a delay on her execution because she was pregnant foreshadows Elizabethâs later claim that she is with child as well, and despite being examined and there being âno sign of itâ (Act 3), Danforth observes that it âtoo convenient to be creditedâ (Act 3). Without solid proof, he informs Proctor that Elizabeth will be spared another year until she is delivered and audiences are left guessing whether this is a lie Elizabeth has devised to stall or if Proctorâs summation of her being unable to lie is correct and she is with child.
Truth and Lies Quotes
Ruth stood by her electric kettle steaming open a fat letter addressed to Tilly Dunnage. Part 1
Sergeant Farratâs secret wardrobe hung in a locked cupboard next to the front door. Part 4
âItâs all very hazy now, but you left I seem to remember, because your mother became unwell?â (Marigold discusses her confusion with Tilly) Part 4
âSome people donât think they have to honour their marriage vows either,â said Nancy. âAt least I have a preference for men, some sick people in this townâŠâ (Lois and Nancy are arguing during rehearsals) Part 4
âYou are not wintry man. I know you, John⊠I look for John Proctor that took me from my sleep and put knowledge in my heart! 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! And now you bid me tear the light out of my eyes?â (Abby pleads with Proctor) Act 1
âAye, sir. She [Mary Warren] swears now that she never saw Satan; nor any spirit, vague or clear, that Satan may have sent to hurt her. And she declares her friends are lying now.â (Proctor to Danforth) Act 3
âIt does not escape me that this deposition may be devised to blind us⊠but if she speaks true, I bid you now drop your guile and confess your pretense, for a quick confession will go easier with you. Abigail Williams⊠is there any truth in this?â (Danforth questions Abby one final time) Act 3
âLet him [Proctor] give his lie. Quail not before Godâs judgement in this, for it may well be that God damns a liar less that he that throws his life away for pride.â (Hale to Elizabeth) Act 4
âBecause I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang!â (Proctor as he is signing his false confession) Act 4
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The Crucible / The Dressmaker – Comparative Sample Essay
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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.
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Insight Comparisons support Area of Study 1: Reading and comparing texts in the current VCE English/EAL Study Design, providing a comprehensive guide to the pair of texts, including a detailed study of each textâs key features and a close analysis of their shared ideas, issues and themes. Features include: detailed explanations of characters, settings, narrative, language, genre and structure in each text, facilitating detailed understanding and analysis; in-depth discussion of a range of ideas, issues and themes explored by both texts, including comparison of their different perspectives and values; essay topics, a sample analysis of a topic and a complete sample response.
Arthur Miller and the Creation of the Crucible: a Reflection on McCarthyism
This essay about Arthur Miller’s “The Crucible” explores the playwright’s motivations and the historical context that inspired the creation of the play. It highlights how Miller used the Salem witch trials of 1692 as a metaphor for the McCarthyism of the 1950s, drawing parallels between the mass hysteria and false accusations in both eras. The essay examines the complex characters in the play, such as John Proctor and Reverend Hale, and their roles in conveying themes of integrity, fear, and power. Additionally, it discusses Miller’s skillful use of language to enhance the play’s historical authenticity and its lasting relevance as a cautionary tale about the dangers of ideological extremism and hysteria.
How it works
Arthur Miller, an esteemed American playwright, is the mastermind behind âThe Crucible,â a play that has captivated audiences since its debut in 1953. Set against the backdrop of the Salem witch trials of 1692, âThe Crucibleâ is more than just a historical drama. It is a searing commentary on the perils of mass hysteria, the dangers of ideological extremism, and the devastating consequences of false accusations. Millerâs motivations for writing the play were deeply intertwined with the political climate of his time, particularly the rise of McCarthyism in the United States.
Millerâs decision to write âThe Crucibleâ was influenced by his observations of the widespread fear and paranoia that characterized the early 1950s in America. This period, known as the Red Scare, was marked by Senator Joseph McCarthyâs relentless pursuit of alleged communists within the government, entertainment industry, and other sectors of society. McCarthyâs tactics included aggressive investigations and public hearings, where individuals were often forced to defend their loyalty to the country under intense scrutiny and without substantial evidence. The atmosphere of suspicion and the consequences of being labeled a communist were dire, leading to ruined careers, broken relationships, and, in some cases, imprisonment.
In writing âThe Crucible,â Miller sought to draw a parallel between the Salem witch trials and the contemporary witch hunts of his own era. He was particularly struck by the way fear and suspicion could rapidly spread through a community, leading to irrational and destructive behavior. By setting his play in the 17th century, Miller was able to explore these themes in a historical context, while simultaneously providing a critique of his own time. The Salem witch trials served as a powerful metaphor for the hysteria and injustice that he saw unfolding around him.
âThe Crucibleâ is rich with characters who are complex and multifaceted, each representing different aspects of the human experience in times of crisis. John Proctor, the playâs tragic hero, embodies the struggle for integrity in the face of overwhelming pressure to conform. His refusal to falsely confess to witchcraft, even at the cost of his own life, is a powerful statement about the importance of personal honor and the moral cost of living a lie. Elizabeth Proctor, his wife, represents the themes of forgiveness and redemption, as she comes to understand and forgive her husbandâs past mistakes, recognizing the greater good in his final act of defiance.
Reverend Hale, another central character, undergoes a significant transformation throughout the play. Initially, he arrives in Salem confident in his ability to root out witchcraft, armed with knowledge and a strong belief in the righteousness of his mission. However, as the trials progress and the true nature of the accusations becomes clear, Haleâs faith in the justice of the proceedings is shaken. His eventual disillusionment and efforts to save those falsely accused highlight the importance of critical thinking and the danger of blind adherence to ideology.
Millerâs use of language in âThe Crucibleâ is also noteworthy. He blends archaic expressions and idiomatic phrases from the period with his own lyrical style, creating dialogue that feels both authentic and poetic. This careful attention to language enhances the playâs historical authenticity while also making its themes resonate with contemporary audiences. The courtroom scenes, in particular, are masterfully crafted, capturing the tension and drama of the trials while exposing the absurdity and cruelty of the proceedings.
The enduring relevance of âThe Crucibleâ lies in its exploration of universal themes such as fear, power, and integrity. Millerâs portrayal of a society unraveling under the weight of its own fears serves as a cautionary tale for any era. The play reminds us that the true danger often lies not in the external threats we face but in our response to those threats. It calls into question the ways in which we allow fear to override reason and how easily we can be manipulated by those in power.
In conclusion, Arthur Millerâs âThe Crucibleâ is a profound and enduring work that continues to resonate with audiences today. Through his brilliant storytelling and incisive social commentary, Miller sheds light on the dark corners of human nature and the dangers of hysteria and ideological extremism. The playâs timeless message serves as a reminder of the importance of integrity, critical thinking, and the courage to stand up for what is right, even in the face of overwhelming opposition.
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prompt predictions for crucible dressmaker???
these are the past ones (some have year of wonders instead)
Compare how the two texts examine the treatment of women by their communities.Â
ii. â[âŠ] vengeance is walking Salem.â (The Crucible) âPain will no longer be our curse [âŠ] It will be our revenge and our reason.â (The Dressmaker)
 Compare to what extent revenge is justified in the two texts
âProctor [âŠ] has come to regard himself as a kind of fraud.â (The Crucible) Tilly says: â[âŠ] everyone Iâve touched is hurt, or dead.â (The Dressmaker) Compare how characters in the two texts consider themselves responsible for the harm caused to others.Â
ii. Compare the ways in which the two texts show the suffering of the innocent and the guilty
âIn stressful times, we often doubt what we most strongly believe.â Compare the ways in which the two texts explore this idea.Â
Compare how the concept of social responsibility is examined in the two texts.
âIn The Crucible and Year of Wonders, the leaders of the communities are misguided.â Compare how this idea is explored in the two texts.Â
 âThe magistrate sits in your heart that judges you.â (The Crucible) Compare the role of judgment in the two texts.
Compare how The Crucible and Year of Wonders explore issues of victimisation and blame.Â
âOrdinary people sometimes make extraordinary sacrifices for others.â Compare how this idea is demonstrated in these texts.
âIn both texts, power is the driving force for many of the characters.â Compare the ways in which the two texts explore this idea.
 Compare how a lack of generosity in The Crucible and The Dressmaker causes trouble for everyone.
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Updated 24/12/2020. Contents. Summary; Themes, Motifs and Key Ideas; Comparative Essay Prompt Example; Sample Essay Topics; 1. Summary. The Crucible is a four-act play that portrays the atmosphere of the witch trials in Salem. As an allegory of McCarthyism, the play primarily focuses on criticising the ways in which innocent people are prosecuted without any founded evidence, reflecting the ...
Essay Prompts. 'I have confessed myself! Is there no good penitence but it be made public?' (Proctor, The Crucible) Compare how both texts explore that the judgement from others influences our understanding of ourselves. Both texts suggest that the primary reason people lie and gossip is to protect their own secrets and motives.
3. ESSAYS I've done essays on the following essay prompts:-'Power is the greatest source of corruption in The Dressmaker and The Crucible'. Discuss.-'Both texts present societies in which women are denied power.' Discuss.-'In The Crucible and The Dressmaker, the leaders of the communities are misguided.'
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 ...
đ đ OPEN FOR The Crucible and The Dressmaker RESOURCES đđToday's essay topic is: Prompt: Compare the ways in which outcasts are treated in The Crucible a...
Reading and Comparing Texts Prompts. Withholding the truth can result in dire consequences. Compare the ways The Crucible and The Dressmaker approach this idea. Compare the ways The Crucible and The Dressmaker explore the idea of hysteria. Compare how the concept of social responsibility is examined in the two texts. 8Inhow this idea is explored in the two texts.
Updated 24/12/2020. Contents. Summary; Themes, Motifs and Key Ideas; Comparative Essay Prompt Example; Sample Essay Topics; 1. Summary. The Crucible is a four-act play that portrays the atmosphere of the witch trials in Salem. As an allegory of McCarthyism, the play primarily focuses on criticising the ways in which innocent people are prosecuted without any founded evidence, reflecting the ...
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 ...
An Ultimate Guide to Comparing The Crucible and The Dressmaker. Whilst Arthur Miller's The Crucible and Rosalind Ham's The Dressmaker diverge in their structure, form, setting and focus, they share a thematic exploration of social oppression, hypocrisy and power. Miller's allegorical play satirises the imposition of power of authoritarian ...
Essay Prompts; The Crucible and The Dressmaker. Comparison. Fear/Mass Hysteria. Hysteria is often devalued as a temper-tantrum but the medical term refers to a serious functional disturbance of the entire nervous system, often activated by severe stress or conflicting impulses. Mary Warren describes the classic onset of symptoms that mark her ...
Topic: SETTING + CONTEXT The Crucible Similarities The Dressmaker America - Massachusetts Village of Puritans - left England After victimised in England after King return Written in 1950s - based on 1690s Miller incorporates mccarthyism + fear of communists - fear our neighbour into his 1690s story The girls have learnt their morals from the people of salem and this leads to the snowball of ...
Sunset Boulevard essay topics; Ransom & The Queen (Essay No 2) 'In Nine Days, some characters can make choices with more freedom than other characters; Section C vce - This is an ALA essay; Comparing Settings of The Dressmaker vs Crucible; Compare the ways in which The Crucible and The Dressmaker portray divided societies
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 ...
Broad Essay Plans covering a range of comparative essay topics between The Crucible and The Dressmaker including body paragraphs, quotes and analyses, FREE Online Lectures July 1-19, 2024. Register now !
Insight Comparisons: The Crucible - The Dressmaker Virginia Lee. Insight Comparisons support Area of Study 1: Reading and comparing texts in the current VCE English/EAL Study Design, providing a comprehensive guide to the pair of texts, including a detailed study of each text's key features and a close analysis of their shared ideas, issues ...
This essay about Arthur Miller's "The Crucible" explores the playwright's motivations and the historical context that inspired the creation of the play. It highlights how Miller used the Salem witch trials of 1692 as a metaphor for the McCarthyism of the 1950s, drawing parallels between the mass hysteria and false accusations in both eras.
The last thing I have noted is your paragraph structure changes as you do the block method (Topic, Text A, comparative phrase, Text B, conc) in the first para and then the integrated (Topic, Text A, Text B, Text A, Text B, conc) in the second. I was told last yr to stay consistent in your essay with which body para structure you choose.
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 in
'In The Crucible and Year of Wonders, the leaders of the communities are misguided.' Compare how this idea is explored in the two texts. "The magistrate sits in your heart that judges you." (The Crucible) Compare the role of judgment in the two texts. Compare how The Crucible and Year of Wonders explore issues of victimisation and blame.
A retype of the sac I did for the crucible and the dressmaker comparative. I got 92% for this. FREE Online Lectures July 1-19, 2024. Register now! Free Resources. Premium Resources. Study Guides ATARNotes+ Tutoring. Community. Discussions Contributor Leaderboard Find a Tutor Uni Info. About.
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