a level english literature essay example

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How to Write an A-Level English Literature Essay

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

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

The Basics of Crafting A-Level English Literature Essays

Understanding the Assignment: Decoding Essay Prompts

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

Essay Structure: Building a Solid Foundation

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

Thesis Statements: Crafting Clear and Powerful Arguments

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

Exploring PEDAL for Better A-Level English Essays

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

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

Clearly state your main idea.

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

Pull relevant quotes from the text.

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

Identify a literary technique in the evidence.

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

Break down the meaning of the evidence.

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

Link to Context:

Connect your point to broader contexts.

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

Navigating the World of Literary Analysis

Breaking Down Literary Elements: Characters, Plot, and Themes

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

Effective Text Analysis: Uncovering Hidden Meanings

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

Incorporating Critical Perspectives: Adding Depth to Your Essays

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

Secrets to Compelling Essays

Structuring your ideas: creating coherent and flowing essays.

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

Presenting Compelling Arguments: Backing Up Your Points

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

The Power of Language: Writing with Clarity and Precision

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

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

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

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

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

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

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

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

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

How do I avoid sounding repetitive in my essay?

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

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

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

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

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

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

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

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

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

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

THE QUESTION:

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

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

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

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

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

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

GRADING (CIE Cambridge Mark Scheme)

Band 2 20/25 80% Borderline A Grade

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

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

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

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

HOW TO IMPROVE:

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

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

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AS and A-level English Literature A

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Centre declaration sheet 2025

Published 10 Nov 2023 | PDF | 74 KB

Published 10 Nov 2023 | DOC | 520 KB

Candidate record form (A-level): Component 3 NEA Independent critical study: texts across time 2025

Published 10 Nov 2023 | PDF | 104 KB

Published 10 Nov 2023 | DOCX | 514 KB

Insert (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

Published 14 Jul 2023 | PDF | 520 KB

Insert (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

Published 14 Jul 2023 | PDF | 177 KB

Insert (Modified A4 18pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

Published 14 Jul 2023 | PDF | 97 KB

Insert (Modified A3 36pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

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Question paper (AS): Paper 2 Love through the ages: prose - June 2022

Published 14 Jul 2023 | PDF | 230 KB

Insert (Modified A3 36pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

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Insert (Modified A4 18pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

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Question paper (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

Published 14 Jul 2023 | PDF | 280 KB

Question paper (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

Published 14 Jul 2023 | PDF | 236 KB

Question paper (Modified A4 18pt) (AS): Paper 2 Love through the ages: prose - June 2022

Published 14 Jul 2023 | PDF | 117 KB

Question paper (Modified A3 36pt) (AS): Paper 2 Love through the ages: prose - June 2022

Published 14 Jul 2023 | PDF | 125 KB

Question paper (Modified A4 18pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

Published 14 Jul 2023 | PDF | 159 KB

Question paper (Modified A3 36pt) (A-level): Paper 2A Texts in shared contexts: WW1 and its aftermath - June 2022

Published 14 Jul 2023 | PDF | 169 KB

Question paper (Modified A4 18pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

Question paper (Modified A3 36pt) (A-level): Paper 2B Texts in shared contexts: Modern times: literature from 1945 to the present day - June 2022

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Examiner report (AS): Paper 2 Love through the ages: prose - June 2022

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Programmes & Qualifications

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

• Syllabus overview

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

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

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

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

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

Syllabus support

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

Syllabus updates

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

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

How has the syllabus changed?

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

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

How has the assessment changed?

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

When do these changes take place?

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

Coming soon

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

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

Endorsed resources

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

Read more on the Collins website

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

Read more on the Cambridge University Press website

Important notices

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

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

We communicated this change to schools in September 2022.

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

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

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

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

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

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AS and A Level: English Literature

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"Hippolyta and Titania are consorts who defy their Lords, but ultimately submit to their lordship". Examine how Shakespeare treats the female characters and explores the role of women in the play "A Midsummer Night's Dream".

"Hippolyta and Titania are consorts who defy their Lords, but ultimately submit to their lordship". Examine how Shakespeare treats the female characters and explores the role of women in the play "A Midsummer Night's Dream". 'A Midsummer Night's Dream' is said to be written between 1594 and 1596. It is also thought it was written around the period 'Romeo & Juliet'. Similarities between the two do occur between the plays, for example the play of 'Pyramus and Thisbe' which is performed by Peter Quince's men has the same tragic ending as 'Romeo & Juliet'. William Shakespeare at this time was the play writer for Elizabeth I .Shakespeare therefore gave the female characters in his plays, some sort of power. By doing this Shakespeare could not irritate the Queen by creating a play which was based on male characters. During the time of Queen Elizabeth I's reign, there were religious tensions between Catholics and Protestants. The Queen tried to treat the two religions equally and by encouraging them to live in peace. (1). Despite her attempts to bring about peace within the religious community, she was ruling a country torn apart by religious tensions. Also during the time of Queen Elizabeth's life was in danger, her cousin, Mary Queen of Scots wanted to have her killed. Fortunately for Queen Elizabeth, her cousins' plot was uncovered and she was tried and sentenced to death in

• Word count: 1903
• Level: AS and A Level
• Subject: English

"His nature is not remorseless, but to escape from a trap he has to act without pity." Consider Tennessee Williams' presentation of Tom in the light of this statement

"His nature is not remorseless, but to escape from a trap he has to act without pity." Consider Tennessee Williams' presentation of Tom in the light of this statement The character of Tom in Tennessee Williams' The Glass Menagerie is perhaps the most interesting in the play, in that he is in some ways the most real character, even more so than Jim, in a world of memories. The main reason for this is that Tom is Williams' autobiographical character, which is especially evident in the narrative aspect. The early life of Williams was very much like that of Tom, with the same sort of domestic problems occurring, and so through Tom we have a window into Williams' life. Therefore Tom is going to be shown in a generally flattering life, as he is a reflection of Williams, and thus we see a character who is quiet, artistic, caring, tender and deeply regretful of having to abandon his mother and sister to their fate. Tom's actions throughout the play cement his quiet, caring nature, except for the odd argument, although even when he loses his temper completely he never strikes anyone, but does have some quite cutting things to say. However, at the end, he does the unexpected, leaving his mother and sister to fend for themselves. I do not believe this makes him remorseless, as he is within his rights to leave, and Laura isn't completely helpless - only in her mind (Jim's analysis

• Word count: 939

"How does Dickens' create mystery and suspense in his writing?"

"How does Dickens' create mystery and suspense in his writing?" Charles Dickens was born in Portsmouth in 1812. Most of his books were written in the mid-eighteen hundreds and some of them include Great Expectations, Hard Times, and Little Dorrit. The three I will be referring to are Oliver Twist, The Signalman and A Christmas Carol. Back in Dickens' time there was a lack of education, a huge wealth divide between the rich and the poor, and the environment was unpleasant compared to todays. Dickens' creates mystery and suspense in his books through techniques of writing language, the background, the characters, and the weather. Dickens often has moralistic themes to his books, in A Christmas Carol, Scrooge changed from being a horrible man who hated Christmas, into a nice, pleasant gentleman, who came to like Christmas. One of Dickens' main techniques is his use of language. He used elaborate descriptions, alliteration, repetition, listing and onomatopoeia. An example of his elaborate descriptive writing is shown in 'A Christmas Carol' - "A squeezing, wrenching, grasping, scraping, clutching, covetous old sinner." Another example of Dickens use of language is also in 'A Christmas Carol' -"The phantom slowly, gravely, silently approached." This is an example of tripling, and the word 'gravely' again refers to death. This piece of writing certainly does create mystery and

• Word count: 1147

"How far do you agree that we are moved to sympathy, even to admiration, by Richard's journey to awareness?"

"How far do you agree that we are moved to sympathy, even to admiration, by Richard's journey to awareness?" Because King Richard is the eponymous character of this play, it is his emotional journey which readers follow in details. Through the play, numerous traits of his personality are clearly exposed, giving readers plenty of evidence on which to form opinions. In the opening scene of the play, Richard at first comes across as an authoritative ruler, with full control over the situation and an evident sense of fairness and justice. This gives readers scope to feel admiration for him, because he is apparently displaying vital qualities in a good monarch. However, it is not long before Richard slips up and allows his weakness to be exposed. After regally announcing, "We were not born to serve, but to command", he immediately falters and adds "Which since we cannot do..." This shows from the beginning that Richard is not a king capable of impressing us with authority and strength of mind, which I found to weaken the chance of me admiring him. "Richard II", as well as being a play about history, can also be seen as an exploration of psychological depth. Richard is a character who always makes his emotions known, through introspective, lyrical and highly metaphorical poetry. This allows us to trace his journey to awareness far more empathetically. Personally, I agree at

• Word count: 871

"How is Brutus portrayed as a tragic hero?"

English Essay "How is Brutus portrayed as a tragic hero?" Throughout the works of Shakespeare, tragedy has always been a vital foundation and a key to his immense successes. His fine mastery of the art became legendary amongst the audiences that watched his various plays. Romeo and Juliet is a prime example of the tragedy he could combine into a stage performance. An Irish poet named Oscar Wilde who was a novelist, dramatist and critic in the late eighteen hundreds once wrote, "There are only two tragedies in life: one is not getting what one wants, and the other is getting it." This has an exact correlation to the play Julius Caesar where the tragedy lies in the greed of a man who wants too much. This particular play is based entirely upon dreadful choices leading to demise. The character Brutus in particular is a key personality to the structure of the play in his fall from honour. Being a man of utmost glory and loyalty becomes his biggest weakness. In Act 1 Scene 2 we are presented with the pressure that Cassius weighs upon Brutus' mind. In lines 79-80 the truth of Brutus' troubles become clear. In the heat of conversation he says "What means this shouting? I do fear the people choose Caesar for their king". This is the turning point in the play as the stepping stones begin to fall in place and Brutus reveals to the viewers his deep down uncertainty to the decision of

• Word count: 1269

"How is the theme of 'universal indifference' portrayed in The Outsider and Candide"?

Kirby Kruger "How is the theme of 'universal indifference' portrayed in The Outsider and Candide"? Albert Camus's thought-provoking story of The Outsider and Voltaire's whimsical satire Candide both question faith and mankind's tendency to explain away events through the mystical nature of spirituality. Both authors seem to consider the idea of evil as part of a Divine Plan, or as an ultimate cause of good, as weak, and on the whole, unsatisfactory. They respond differently to this, though; Camus rejects religion completely, while Voltaire approaches the notion more cautiously by mocking mankind's fickle justifications for evil and blind faith. The first section of The Outsider almost seems irrelevant to the philosophical climax that dramatically completes Meursault's simple character. Through the striking contrast of the initial structure and fallaciously predictable content of the earlier sections, Camus delivers the message unexpectedly and dramatically. As a first-person narrative, the reader expects to finish the book with Meursault sincerely narrating his unremarkable life as he grows accustomed to jail; yet the change of setting does not really bring upon any renewed interest. Instead, the subtle introduction of the Patrician, whose irrational and blatantly irritable beliefs eventually annoy Meursault to the point of an philosophical outburst, whereby he declares

• Word count: 1759

"I will put Chaos into 14 lines"

Edna St. Vincent Millay's "I will put Chaos into 14 lines" sonnet is very vague on the surface. If you dig deeper, there could be a variety of interpretations. One interpretation is that this sonnet could be about a man. 'Him' is referred to constantly throughout the sonnet. If you go with that theory, then the sonnet would be about a relationship with the man who seems chaotic to the narrator. The 'I' is trying desperately to make some sense of 'him'. Her goal is to 'make him good' (14). That is only one possible argument, which could be argued, based on textual clues. The more likely interpretation is that this sonnet is about writing a sonnet. What helps lead the reader to that conclusion is evidence from the first line: "I will put Chaos into fourteen lines" (1). 'Fourteen lines' is typically the length of a sonnet, and this particular sonnet is 14 lines. Now that we know what this particular sonnet is about, what does Millay have to say about writing sonnets and how does she say it? These questions will be explored in this paper. The first step is to look at the sonnet structure itself. This is a Petrarchan sonnet and follows the typical structure for this form. There is an octave, sestet and there is a rhyming scheme. The octave follows the typical rhyming scheme of ABBAABBA. The rhyme scheme in the sestet is CDCDCD and is a variation to the typical rhyme scheme. "What

• Word count: 1042

"In 'Antony and Cleopatra', Shakespeare is particularly interested in the psychological burdens that those in positions of power must endure". Examine the different representations of leadership in the play.

"In 'Antony and Cleopatra', Shakespeare is particularly interested in the psychological burdens that those in positions of power must endure". Examine the different representations of leadership in the play. As is often true of the study of history in general, the people who dominate Shakespeare's historical plays are those in positions of power and authority. This is simply because such people will be the ones to effect history in the most significant way. In 'Antony and Cleopatra' we see several different leadership figures, who show all of the range of burdens, strains and qualities that those in positions of power can have (such as Antony himself, Cleopatra, Caesar, Lepidus and Pompey). In terms of leadership, Classical Renaissance ideas can be very helpful when trying to approach Antony and Cleopatra for the first time. The traditional idea of heroism and leadership was summed up in the quality known as 'virtus', which describes the characteristics of a virile nature, military strength, and old ideas of chivalry and honour. Renaissance artists such as Machiavelli in 'The Prince', modified this to emphasise calm ruthlessness and intellectual power. As we shall see, these two opposing views of what a leader should be (the traditional and renaissance ideals) are reflected in the struggle between Antony and Caesar. Antony, representing the old 'virus' values, is defeated and

• Word count: 1948

"In Batiste's determination to continue the struggle lies the essence of Blasco Ibaez's optimism. La barraca is a novel of protest, not of hopelessness" (G. Cheyne). To what extent do you agree with this statement?

"In Batiste's determination to continue the struggle lies the essence of Blasco Ibañez's optimism. La barraca is a novel of protest, not of hopelessness" (G. Cheyne). To what extent do you agree with this statement? I do not fully agree with the above opinion given by Cheyne. I do think that what he says is partly true but to say that the novel is lacking the theme of hopelessness would be wrong. It is more apt to say that the novel displays both a sense of protest from its characters and also a sense of hopelessness. In this essay I intend to explore the themes of hopelessness and of protest, discussing how they interact and thereby provide a sense of fate in the novel. Furthermore I will talk about what devices Blasco uses to emphasise these themes to the reader. From the beginning of Batiste's arrival in the huerta, the fields in which he works and lives have a sense of doom attached to them. Pimentó assures the huertanos that Bastiste's farming of the fields will not be successful and his efforts to do so would be stopped: Él, lo único que podia asegurar es que el tal sujeto no cogería el trigo, ni las habas, ni todo lo que había plantado en los campos de Barret. Aquello sería para el demonio.1 I would say that the way in which the whole of the village side against Batiste is a negative value of society that Blasco wishes to display through the device of the

• Word count: 2896

"In Mrs. Tilscher's Class" by Carol Ann Duffy deals with one central theme. The theme of growing up is the main idea within the poem and is repeatedly imprinted throughout the poet's childhood

In Mrs. Tilscher's Class "In Mrs. Tilscher's Class" by Carol Ann Duffy deals with one central theme. The theme of growing up is the main idea within the poem and is repeatedly imprinted throughout the poet's childhood. This theme leads on to the more abstract idea of the child already maturing into a great poet. Her mind's eye is unbounded as she transforms her classroom into a place of riches and resides in her own world of imagination. Written improbably through the 2nd person viewpoint, the poem expresses these ideas personally to the reader, hence allowing us to empathise with the poet. The poet is able to recall several aspects of her primary school days, and is consequently able to paint a picture of her memories from the viewpoint of a young child. The writer not only conveys an inviting warm atmosphere of a 1960's classroom, but also unveils a liberal outlook to her childhood. A colourful classroom with numerous displays is made known to the reader: "The classroom glowed like a sweet shop." The classroom is made into a place of riches with this visual simile, used to radiate wonders of the child's mind. The word "glowed" in this line is a metaphor all on its own. The metaphor allows the reader to visualise the sweetshop gleaming due to the light refracting through the glass jars and translucent sweets. The poet can also bring to mind the teacher's

• Word count: 2352

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As and a level english literature - h072, h472.

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

Question papers, mark schemes and reports

2022 - june series.

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

2021 - November series

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

2020 - November series

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

2019 - June series

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

Sample assessment materials

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

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

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

Non-exam assessment (NEA)

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

Candidate exemplars

2018 - june series.

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

2017 - June series

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

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