essay the great gatsby

The Extensive Guide to Analysing ‘The Great Gatsby’ for English: Summary, Context, Themes & Characters

The Great Gatsby explores themes of the American Dream, wealth, love, and disillusionment through the tragic story of Jay Gatsby’s pursuit of Daisy Buchanan and their complex relationships.  Stay tuned for the full Great Gatsby summary, characters, context, themes and more!

We’ve even got a step-by-step guide on how to write Band 6 analysis for The Great Gatsby that’ll blow your teachers away! 

And here’s a bonus for you — we’ve also created an analysis table (aka a TEE table ) and a sample paragraph that’s all free for you to download.

So, what are you waiting for? Let’s start the party!

Summary of The Great Gatsby Key Characters Historical Context The Great Gatsby Themes Sample Band 6 Analysis of The Great Gatsby

Summary of The Great Gatsby

The Great Gatsby is a tragic love story that revolves around Jay Gatsby, a mysterious millionaire who strives to rekindle his relationship with his old flame, Daisy Buchanan.

It takes on the narrative of Nick Carraway, who witnesses the events between Gatsby and Daisy to tell a tale about doomed love in the world of the wealthy. 

Meet Nick, Daisy, Tom and Jordan

In 1922, Nick Carraway moves to a modest home in Long Island, New York in hopes of claiming his own American Dream. He lives next to the famous Jay Gatsby, who had his own mansion and threw lavish parties every weekend. 

One day, Nick travels to the other side of Long Island to visit his cousin, Daisy Buchanan and her husband, Tom whom Nick had known since their university days at Yale. They introduce him to Jordan Baker , who tells Nick about Tom’s mistress.

Later on, Daisy confides in Nick about her unhappiness in her marriage. Nick returns home to see his neighbour, Jay Gatsby, in front of his mansion, stretching his hands across the bay and towards the green light at the end of the Buchanan residence. 

Image sourced from LitHub

Meet Myrtle

Nick is then invited to visit the city with Tom and his mistress, Myrtle Wilson, who is married to a repairman named George and lives in an industrial wasteland nicknamed “valley of ashes”.

They party at Tom’s apartment, where an argument about Daisy breaks out between Tom and Myrtle, which ends in Tom breaking Myrtle’s nose. 

Meet Gatsby

As the summer passes by, Nick receives an invitation to one of Gatsby’s extraordinary parties. Nick attends the party and bumps into Jordan.

He then meets the Great Gatsby himself, who turns out to be a remarkable young man who looked like he was longing for something as he peers over his own party. 

As the party winds down, Gatsby speaks to Jordan privately. Jordan would later tell Nick about how Gatsby had met Daisy in Louisville back in 1917 and fell in love with her then.

Gatsby is still deeply in love with Daisy, so he hosts many extravagant parties in hopes to see her again. 

Gatsby and Daisy reunited 

As Nick and Gatsby become closer, Nick accepts Gatsby’s request to invite Daisy over to Nick’s house , with Gatsby arriving unannounced. Daisy is surprised to see Gatsby after five years apart.

Although awkward at first, Gatsby and Daisy warm up to one another, and begin a love affair. 

Tom gets suspicious 

After a while, Tom starts to suspect something fishy between his wife and Gatsby, so he invites them over for luncheon . At the table, Gatsby responds in a manner that reveals his love for Daisy, which Tom picks up.

Despite having his own affair, Tom gets extremely angry and forces the party to drive to a suit in the Plaza Hotel, New York City. 

Gatsby insists that Daisy claims her love for him in front of Tom, but she backs out after realising her devotion to Tom . Tom begins to assert his own history with Daisy over Gatsby’s and reveals his own private investigations into Gatsby’s job as an illegal alcohol dealer.

Astounded, Daisy runs away and Gatsby chases after her. Daisy and Gatsby take off in Gatsby’s car.

Image sourced from Curbed New York

Myrtle’s death

The party drives back to the buchanan residence with nick, jordan and tom in another car. as they pass through the valley of ashes, they find out that gatsby’s car had crashed and killed myrtle, tom’s mistress..

When Nick returns to Long Island, Gatsby tells him that Daisy killed Myrtle as she was driving the car and Gatsby was willing to take the fall. 

Gatsby dies 

The following day, Tom informs Myrtle’s husband, George, that Gatsby was the driver that killed Myrtle. A miserable, grieving Tom comes to the conclusion that Gatsby was Myrtle’s secret lover and proceeds to kill Gatsby in the pool of his mansion . Tom then shoots himself. 

Nick arranges a funeral for Gatsby, which no one attends as the world starts to forget about him. Disgusted by the people in Gatsby’s life, Nick moves away from New York to escape the hollowness and moral decline of the higher class.

The novel ends with Nick standing where Gatsby once stood, peering across to watch the green light flicker at the now abandoned Buchanan residence. Although Nick acknowledges that Gatsby was “great” because of his ability to manifest his dreams into reality, he realises that both the pursuit of Gatsby’s and the American dream are, sadly but ultimately, futile. 

Access The Great Gatsby Downloadable Sample Paragraph and Examples of Essay Analysis here!

Key Characters in The Great Gatsby

Nick Carraway  As Nick is the main narrator, his perceptions and judgements shape how the story is being told. As a young, bright man, Nick attended Yale and fought in World War I before moving from Minnesota to New York City to learn about the bond industry.  Soon enough, he becomes friends with his wealthy neighbour, Jay Gatsby. He also has a cousin, Daisy Buchanan, who lives across the area and happens to be Gatsby’s former lover. He plays a pivotal role in facilitating the reunion between Gatsby and Daisy.  He claims his own character to be honest, open-minded and quiet, so many trust to confide him with their secrets, no matter how scandalous it may be. 

Jay Gatsby Jay Gatsby makes the title of the book as the main protagonist — a mysterious young millionaire who hosts luxurious parties every Saturday night to impress his former lover, Daisy Buchanan.  Born as James Gatz on a humble farm in North Dakota, Gatsby’s strive for his American Dream steered him out of poverty and into the upper class world. During his days training as an officer in Louisville, he met Daisy and fell in love with her. Unfortunately, he had to leave for the army, so he swore to come back to her through acquiring as much fortune as he could. Whether it’d be selling illegal alcohol or trading stolen goods — he would do anything to become rich so he could be back with Daisy.  Although Nick sees Gatsby as a dishonest man, we have to give it to Gatsby and his extraordinary ability to transform his dreams into a reality as he reconstructs an identity for himself as the legendary “Great” Gatsby. 

Daisy Buchanan Daisy Buchanan is Nick’s cousin and Gatsby’s love interest. As a young beautiful socialite, she attracted many men in Louisville, including Gatsby. Although she promised to wait for Gatsby, Daisy longed for love and gratification. So, when Tom (a wealthy, hunky hot mess) asked for her hand in marriage, Daisy decided not to wait for Gatsby and married Tom instead.  Gatsby sees Daisy as the perfect woman for him due to her charm, grace and wealth. In reality, Daisy is sardonic, superficial and cynical — representing the flaws of the aristocratic. 

Tom Buchanan Tom is Nick’s former college mate from Yale who was born into an aristocratic, wealthy family line. He is a big bully who exudes arrogance, aggression and cold-heartedness as he projects racism and sexism onto anyone he interacts with. An outright liar and hypocrite, Tom has no second thoughts about his feelings for Daisy during his extramarital affair with Myrtle, yet becomes enraged at Daisy and Gatsby’s relationship. 

Jordan Baker Jordan is Nick’s love interest and Daisy’s socialite friend. As a professional golfer, Jordan naturally belongs to the upper class of society as she plays a sport exclusive to the wealthy. While Jordan is described as alluring and beautiful upon first meeting, Nick later discovers that she is quite cynical, self-centred and a liar. For example, Jordan’s success is built on lies as she cheated in her first major tournament to win.  Jordan’s sly and self-focussed nature reflects the “new women” of the Roaring Twenties, otherwise known as “flappers” who can be recognised by their bobbed hair, short skirts and makeup that is symbolic of the Jazz Age. The “new women” were open towards sexuality, digressing from the conventional domestic life alike Daisy’s, to welcome a new age of women. 

Myrtle Wilson Myrtle is Tom’s mistress and a married woman, wedded to a mechanic who owns a garage in the valley of ashes. Desperate to escape her social situation, Myrtle enters an affair with the rich Tom Buchanan, who rents an apartment where she can pretend that she belongs to the upper class world. Unfortunately, Tom treats Myrtle as an object, inflicting violence upon her whenever she tries to assert her will. 

George Wilson George Wilson is Myrtle’s exhausted husband, tirelessly working to run his auto shop in the valley of ashes. Despite Myrtle’s ferocity and snappy attitude, George worships the ground that Myrtle walks on. Soon after learning about his wife’s death, George becomes consumed by grief and commits murder to exact his revenge.  In a way, George reflects Gatsby as both were dreamers whose lives were destroyed by their unrequited love for the women who pursue people like Tom — rich, immoral and selfish. 

Context of The Great Gatsby

Coined as the Great American Novel, The Great Gatsby is a classic piece of American fiction that is revered for its reflective take on American social classes during the Jazz era .

With its imagistic prose and rich history, it teleports us to the 1920s post war society, known as the “Roaring Twenties”.

It was a chaotic period in American history in terms of its politics, society and economy. 

To understand The Great Gatsby, it is important to know its historical roots first. Let’s dive into America’s most turbulent time of growth, prosperity and corruption. 

Warren Harding’s Presidency 

After World War I ended in 1919, Warren Harding became the President of the United States and targeted the economy to rebuild America’s morale. It was a time of scandal and corruption as the presidency sided with management in disputes over unions, minimum wage and child labour, which compromised the labourers. 

To make matters worse, Harding and his next-in-line, Calvin Coolidge established tax legislation, which benefited the rich more than the other classes. Further policies also forced people to relocate to urban areas to earn a living, as rural industries such as agriculture, textiles and mining were disadvantaged.

Despite their migration, these people were unable to achieve the better life they sought out for, striving to live in the harsh conditions like that of the valley of ashes in Fitzgerald’s Great Gatsby. 

Eighteenth Amendment to the Constitution: Prohibition 

In 1919, the Eighteenth Amendment to the Constitution: prohibition was approved. This meant that it was illegal to manufacture, sell or transport any type of alcohol. The Americans at that time felt that this was a moral decision, as it would remove any vices associated with drunkenness. 

Yet, things didn’t turn out as planned. Many broke the law and consumed illegal liquor, which boosted demand for illegal alcohol to the extent where organised crime activity took hold of its profitability. This new line of industry generated fortunes for the nouveau riches (newly rich) founders such as Gatsby.

Understanding this part of American law in the 1920s is very important to understand the weight of Gatsby’s crimes, and how amoral his actions were to become one of the filthy rich. 

Materialism

As the economy prospered, the people earned more money and spent more money at a rate that is higher than any other period in history. People also started to spend more time and money on leisure goods and activities, making sports an enjoyable recreational pastime. 

The Roaring 20s

The “Roaring 20s” was a retaliation against the chaos and violence of World War I which left America in a state of shock . A wild, exuberant lifestyle was what the generation needs to drown the trauma they’ve inherited from the cruel war.

The generation also turned away from the worn out conservative values of the past, charging into the wealth, opulence and extravagance that America’s economic prosperity provides them. 

Like Gatsby, Fitzgerald worked hard through writing to please his aristocratic wife, Zelda, who was everything he wanted to become, yet became everything he regarded with contempt . After cycles of endless parties all day and night, Fitzgerald became tired of his luxurious lifestyle as he found himself empty under a fake facade of wealth, longing for the return of his moral crux. 

Image sourced from History Collection

The Great Depression

In the early 1920s, wealthy Americans got even wealthier through stock dividends, corporate profits and wages. As technology and means for productivity improved, production costs reduced and the economy flourished. 

However, good things must come to an end. In 1929, the stock market crashed and flooded in a new age of financial decline known as The Great Depression.

Personal income, tax revenue and profits dropped, but the ones who were hit the hardest were the lower class. For some countries, its effects lasted until the start of World War II. 

Although Fitzgerald didn’t know this would happen, he did figure that too much of a good thing is a bad thing, hinting that the opulent Jazz Age has its own impending doom. 

Image sourced from Bushcraft Buddy

The American Dream

The American Dream is an ideal where anyone can achieve success if they work hard in a society that facilitates upward mobility, regardless of which class they are born into.

Simply put, even if you’re poor, the American Dream states that you can get real rich — if you just work real hard. 

The concept of the American Dream began from the Founding Fathers, who established independence from England and started a free America.

However, Americans in 1918 were disillusioned after experiencing the harsh brutalities of war, finding cynicism and emptiness within the Victorian social model. 

Additionally, as the stock market skyrocketed and people gained money from all avenues (legal or not), people from all backgrounds who could make themselves a fortune and become what is known as “new money”, were scorned by those who were born with wealth, coined as “old money.” 

While Fitzgerald first portrays the American dream as a positive ideal of self-discovery and the pursuit of happiness, he reveals the moral corruption of those obsessed with wealth — noting the greed, hunger and selfishness that consumes them.

Despite any sacrifices to achieve this dream, Fitzgerald points out how the goal of obtaining wealth, like Gatsby’s dream of obtaining Daisy, is empty, futile and unworthy. 

As the American Dream fell apart, the 1920s generation sought refuge in the past where their dreams were once meaningful, in a bygone era where the American values remain untainted. 

Themes from The Great Gatsby

1. disillusionment of the american dream.

In “The Great Gatsby,” F. Scott Fitzgerald meticulously portrays the disillusionment of the American Dream through the lives of his characters. Jay Gatsby, the embodiment of this dream, chases the illusion of wealth and success to win back his lost love, Daisy Buchanan. However, as the story unfolds, the hollowness of this pursuit becomes evident.

One significant quote highlighting this disillusionment is when Nick Carraway, the narrator, reflects on the futility of Gatsby’s aspirations:

“Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther.”

Moreover, the tragic demise of Gatsby himself serves as a poignant testament to this theme of disillusionment, highlighting the tragic consequences of chasing an elusive fantasy.

2. Emptiness of the Wealthy

Beneath Tom Buchanan’s immense wealth is a profound lack of fulfilment. As he discusses books with Nick, he demonstrates an attitude of cynicism:

“Civilization’s going to pieces… I’ve gotten to be a terrible pessimist about things.”

The extravagant parties hosted by Gatsby also symbolise the superficiality of wealth. Amidst the glittering festivities, Nick observes the juxtaposing emptiness that lies beneath such lavish displays of affluence:

“I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life.”

Despite amassing vast riches, Gatsby’s life also lacks genuine substance. Even Daisy, a symbol of wealth and status, cannot fill the void in his life, as seen in his longing for an idealized version of her from the past.

Fitzgerald masterfully weaves these instances throughout the narrative, revealing the hollowness and vacuity that often accompany material wealth, thereby dissecting the emptiness within the lives of the ostensibly prosperous characters.

3. Moral Conflict in Pursuit of the American Dream

Jay Gatsby is driven by an unwavering desire for success, but his methods often clash with moral integrity. As he chases after Daisy, Gatsby becomes entangled in a web of deception and corruption.

One notable instance highlighting this moral conflict is when Nick Carraway, the narrator, reflects on Gatsby’s nature, stating,

“Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.”

This quote underscores Gatsby’s eventual tragic end, emphasizing the ethical dilemmas inherent in his pursuit of wealth and love.

His relentless ambition and compromised morality ultimately lead to disillusionment, exposing the emptiness behind the façade of the American Dream and revealing the price one might pay when morality is sacrificed in the relentless pursuit of success.

4. The Power Struggle Between Social Classes

F. Scott Fitzgerald also keenly explores the power dynamics inherent in social classes, showcasing the stark divisions and struggles between the wealthy elite and those striving for acceptance.

Gatsby, despite his immense wealth, faces continual rejection by the old-money aristocracy. He yearns for Daisy’s acceptance into their world, realizing the limitations imposed by his nouveau riche status. As he laments,

“Her voice is full of money.”

The novel’s portrayal of lavish parties and opulent lifestyles juxtaposed with the struggles of characters like George Wilson also underscores the societal imbalance and the desperation of those outside the elite circles.

Writing Band 6 Analysis for The Great Gatsby in 3 Steps

We know how easy it is just to jump in and answer the question right away when you’re writing your essay for The Great Gatsby. However, we do recommend that you start by building a solid in-depth analysis of the text before you get writing!

This is because a strong foundational knowledge of the text inside and out can help you identify ideas from it and compose a comprehensive thesis !

So, here is a step-by-step guide on how to drill into an analysis for The Great Gatsby!

Step 1: Choose your example(s) 

A pro tip is to choose an example with a technique . Techniques allow you to delve deeper into the hidden messages that the author is trying to communicate. 

Here is a famous quote from the Great Gatsby: 

“Gatsby believed in the green light, the orgiastic future that year by year receded before us. It eluded us then, but that’s no matter- to-morrow we will run faster, stretch out our arms farther… and one fine morning- So, we beat on, boats against the current, borne back ceaselessly into the past.” 

This is a pretty long quote from The Great Gatsby, so when you’re writing this into your essay, remember that you can always chop it up into short excerpts to help your essay flow better. 

Step 2: Identify your technique(s)

The best technique is one that allows you to explore the underlying message behind the text. 

Look out for literary techniques that represent another meaning such as metaphors, symbols and motifs, as this can help demonstrate your depth of understanding. 

If you can find multiple techniques within one quote or example, that’s even better!

For the above quote, there are techniques such as metaphor, symbolism and alliteration. 

Step 3: Write the analysis

When writing the analysis, it is important that you explain what the effect of the technique is and how this backs up your argument . In this example, we are going to analyse how this quote discusses the deterioration of the American Dream, one of the prominent Great Gatsby themes.

The green light is a classic symbol of the unattainable American Dream with its greed, materialism and wealth. As Gatsby reaches out to the green light until his death without ever attaining it, it’s a metaphor of how the American dream is far from our reach.  Furthermore, the alliteration of “b” in “beats”, “boats” and “borne back” elicits the effect of being beaten back, which accentuates Gatsby’s futile pursuit of wealth.  There is also another metaphor with the boats moving backwards into the current. This symbolises Fitzgerald’s reflection on his own generation and their reversion to the past ideals once dispelled of the flawed American Dream. Alternatively, this can be perceived as how pursuit of success beats us back into our humble beginnings, reinforcing that true success in the name of wealth is ultimately unattainable. 

If we put all these together in our analysis, it will look like this:

Although the “green light” represents hope in the beginning chapters, it becomes a symbolic image of the flawed American Dream with its “green” colour reminiscent of money and its greed,  superficiality and materialism. Fitzgerald reinforces the unattainable reality of the American Dream through the “green light” which Gatsby yearns for but never acquires, symbolising how the American dream is far from our reach. The alliteration of “b” in “beats”, “boats” and “borne back” evokes the sensation of being beaten down, which reveals how the American Dream has failed individuals with its empty promise, despite its sacrificial pursuit of success. As the boats, representative of society, are metaphorically “borne back ceaselessly into the past,” Fitzgerald reveals how one’s progress in the pursuit of wealth is worthless, as they are tied to their original socioeconomic roots due to systemic injustice perpetrated by the “old money” clan. 

Need help analysing a different text?

Check out other texts we’ve created guides for below:

• Romeo and Juliet
• Run Lola Run
• In Cold Blood
• To Kill a Mockingbird
• The Book Thief
• The Tempest
• Blade Runner
• Things Fall Apart
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The Great Gatsby

By f. scott fitzgerald, the great gatsby essay questions.

Analyze Fitzgerald's conception of the American Dream. Does he view it as totally dead, or is it possible to revive it?

Is Nick a reliable narrator? How does his point of view color the reality of the novel, and what facts or occurences would he have a vested interest in obscuring?

Trace the use of the color white in the novel. When does it falsify a sense of innocence? When does it symbolize true innocence?

Do a close reading of the description of the "valley of ashes." How does Fitzgerald use religious imagery in this section of the novel?

What does the green light symbolize to Gatsby? To Nick?

How does Fitzgerald juxtapose the different regions of America? Does he write more positively about the East or the Midwest?

What is the distinction between East and West Egg? How does one bridge the gap between the two?

In what ways are Wilson and Gatsby similar? Disimilar? Who is Nick more sympathetic to?

How does Fitzgerald treat New York City? What is permissable in the urban space that is taboo on the Eggs?

Is Tom most responsible for Gatsby's death? Daisy? Myrtle? Gatsby himself? Give reasons why or why not each character is implicated in the murder.

The Great Gatsby Questions and Answers

The Question and Answer section for The Great Gatsby is a great resource to ask questions, find answers, and discuss the novel.

describe daisy and gatsby's new relationship

There are two points at which Daisy and Gatsby's relationship could be considered "new". First, it seems that their "new" relationship occurs as Tom has become enlightened about their affair. It seems as if they are happy...

Describe Daisy and Gatsby new relationship?

http://www.gradesaver.com/the-great-gatsby/q-and-a/describe-daisy-and-gatsbys-new-relationship-70077/

What are some quotes in chapter 1 of the great gatsby that show the theme of violence?

I don't recall any violence in in chapter 1.

Study Guide for The Great Gatsby

The Great Gatsby is typically considered F. Scott Fitzgerald's greatest novel. The Great Gatsby study guide contains a biography of F. Scott Fitzgerald, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About The Great Gatsby
• The Great Gatsby Summary
• The Great Gatsby Video
• Character List

Essays for The Great Gatsby

The Great Gatsby essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Great Gatsby by F. Scott Fitzgerald.

• Foreshadowing Destiny
• The Eulogy of a Dream
• Materialism Portrayed By Cars in The Great Gatsby
• Role of Narration in The Great Gatsby
• A Great American Dream

Lesson Plan for The Great Gatsby

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Great Gatsby
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Great Gatsby Bibliography

Wikipedia Entries for The Great Gatsby

• Introduction

The Great Gatsby: Study Guide

The Great Gatsby study guide prepared by our editorial team is a complete collection of materials necessary for understanding the great American novel. Along with the summary and analysis of every chapter, there are short reviews of the main themes, symbols, and literary devices used in the book. Of course, there is a comprehensive analysis of all the characters as well.

🗺️ The Great Gatsby Study Guide: Navigation

Short summary.

A short novel’s summary with pictures and a timeline that contains the key events of The Great Gatsby .

Summary & Analysis Chapter 1

The detailed summary and analysis of the first novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 2

The detailed summary and analysis of the second novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 3

The detailed summary and analysis of the third novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 4

The detailed summary and analysis of the fourth novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 5

The detailed summary and analysis of the fifth novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 6

The detailed summary and analysis of the sixth novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 7

The detailed summary and analysis of the seventh novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 8

The detailed summary and analysis of the eighth novel’s chapter. Active characters and themes.

Summary & Analysis Chapter 9

The detailed summary and analysis of the ninth novel’s chapter. Active characters and themes.

Jay Gatsby, Nick Carraway, Tom and Daisy Buchanan – all the major and minor characters of the novel described on one page.

The major themes in The Great Gatsby : money & wealth, social class, American dream, love & marriage, gender.

Symbolism & Style

The key symbols and literary devices that Fitzgerald used to create the unique atmosphere of the novel.

Quotes Explained

All the important quotations from The Great Gatsby explained on one page.

Explanation of the symbolic meaning behind the setting of The Great Gatsby and a map with all the key novel’s locations.

Essay Examples & Topics

A heap of wonderful ideas for your Great Gatsby essay: absolutely free research paper and essay samples.

F.S. Fitzgerald: Biography

A timeline and a detailed biography of a famous American writer.

Questions & Answers

A list of the answers to the most pressing questions about the novel.

💁 All You Need to Know about The Great Gatsby

The Great Gatsby is about the tragic life of Jay Gatsby, who dedicated all his time and efforts to win back his beloved Daisy Buchanan. The novel was finished and published at the beginning of 1925 and set in the historical context of the scandalous Roaring Twenties, also called the Jazz Age.

The Great Gatsby is a tragic novel by genre. It didn’t meet immediate success when it was published. However, in the 21st century, The Great Gatsby is a book that everyone recommends reading at least once. And it is not hard to tell why this story is so significant since it includes the most relevant issues nowadays. First is, of course, the unreachable American Dream since the dreamer’s demands are always rising. The next theme is repeating the past. Today, most people still make the same mistake of not letting the past go. And, finally, the hypocrisy of the upper class, which is the social issue of all times.

F. Scott Fitzgerald wrote The Great Gatsby, inspired by his real-life events. Some of them were the parties he went to in Long Island. Even though he wrote around 150 pieces during his life, The Great Gatsby has become the most known. However, Fitzgerald’s life was far from the merrymaking described in the book, as he was struggling with alcoholism.

🔑 The Great Gatsby: Facts

📚 The Great Gatsby: Context

When was the great gatsby written.

The Great Gatsby was written in the 1920s , which is the period presented in the book. The Roaring Twenties can be characterized by the economic rise, new technology, the birth of jazz, the beginning of the feminist movement, and Prohibition.

When Was The Great Gatsby Published?

The Great Gatsby was published in April 1925 . F. Scott Fitzgerald completed the draft in 1924, but the editor felt like the story and characters were too vague. Just after the publication, the novel was way less successful than it is now. The number of copies sold was disastrous. Fitzgerald expected the numbers to hit 75 thousand. In reality, it was only bought 20 thousand times.

Fitzgerald was frustrated because people couldn’t understand the ideas of the novel. The book appeared to be too modernist for those times. Everyone considered it a temporary literary work. The critics were not impressed and only left mixed reviews. They were not satisfied with Fitzgerald’s ideas but quite appreciated his unique writing style.

The failure of his third novel hit F. Scott Fitzgerald hard, including his drinking issue and his wife’s mental disorder. It was not easy for him to earn money as a writer, even though he started writing at school. The first two novels he published, This Side of Paradise (1920) and The Beautiful and the Damned (1922), were quite well-received. It wasn’t until his death when the novel was finally noticed. With every following year, The Great Gatsby would be selling better and better until The New York Times named it “a classic” in 1960. Fitzgerald’s short life in the Roaring Twenties brought the great American novel to this world. Even today, the ideas of The Great Gatsby are as relevant as they were back then. What is more, the book is included in most curricula at schools and colleges around the world.

The Great Gatsby: Historical Context

A significant theme of F. Scott Fitzgerald’s work was the idea that the post-war world was hollow and pointless . It was supposed to be a time of limitless opportunities, but it turned out to be a disaster. After the wild merrymaking of the 1920s, the crisis arrived. It is also reflected by Gatsby’s failure to achieve his American Dream.

The Great Gatsby Era

The era of The Great Gatsby is famous for American economic prosperity and endless parties. People were trying to compensate for the dark days of the war and were taking everything from the unexpected opportunity. All aspects of life were changing then: the jazz revolution was walking side by side with the movement for women’s rights.

Jazz Age and The Great Gatsby

The Great Gatsby is set in the 1920s, which is also known as the Jazz Age . The novel has become one of the best insights into that time. The elements of the social and economic questions of the Jazz Age in The Great Gatsby give a deeper understanding of the way of life back then.

🎥 Best Known Adaptations of The Great Gatsby

The great gatsby: 1949 movie.

Fitzgerald’s novel has become so popular that with the development of the technologies, it was impossible not to create a film adaptation of it. And even though watching a movie is an entirely different experience than reading a book, it yet remains a masterpiece on the screen. So far, there are four best-known adaptations of The Great Gatsby . The original movie is the 1949 film by Paramount Pictures . It is a low-budget creation, and maybe the main reason it has become a success is the excellent performance by Alan Ladd as Gatsby.

Even though The Great Gatsby 1949 movie did not fail in terms of profits, it received mixed reviews. First of all, the film does not precisely follow the novel’s plot but slightly changes the focus to Gatsby’s criminal activities and Jordan, who ends up marrying Nick. Moreover, except for Alan Ladd, the cast is weak as the actors, according to the reviews, did not do a good job.

Overall, this adaptation is not recommended as a studying material for students. The fans of the novel might find it amusing, though. However, since it is an old movie, it is not that easy to find. The most available might be the option of a DVD copy.

The Great Gatsby: 1974 Movie

The next followed The Great Gatsby 1974 movie. This time, the creators put much more money and effort into adapting the story correctly, at least compared to the previous film. To work on the screenplay, they invited Francis Ford Coppola , who also worked on the legendary The Godfather . It would be fair to say that this one is one of the best adaptations of The Great Gatsby .

Robert Redford is the lead, and his acting also met mixed reviews. He combined the charming Gatsby and the hardworking James Gatz, which appeared to be a bit clumsy and didn’t look as professional as the original Alan Ladd’s performance. And Mia Farrow ‘s portrayal of Daisy became almost iconic.

Theoni V. Aldredge’s work on costumes is beyond expectations. The budget allowed him to create stunning outfits, which reflected the novel’s description of the Jazz Age quite well. However, it was noticed that it might have become an obstacle to catch the story’s mood. For instance, it is supposed to rain during Gatsby and Daisy’s reunion, but supposedly the costumes were too expensive to be destroyed by water.

To sum up, this adaptation can be counted as one of the best-made The Great Gatsby movies with its great cast and costumes, even though it might lack the mood and energy of the novel.

The Great Gatsby: 2000 TV Film

The Great Gatsby : 2000 TV film is the first novel adaptation of the 21st century. Just like the original movie, this one does not strictly follow the novel’s plot. However, it can be explained by the fact that this film is one hour shorter than the 1974 movie. The plot is also changed in some places. For example, Daisy comes up with a new name for Gatsby instead of Dan Cody.

This version is made specifically for TV . The fact makes the variety of adaptation a bit wider, along with The Great Gatsby play that one can attend in London. However, the critical review notes that it lacks some specific features of the previous movies because it is a TV version. For example, the scenes of Gatsby’s parties are not long enough to reflect their lavishness.

Paul Rudd , who has become quite a famous Hollywood star since then, did a fantastic job of playing Nick Carraway. However, Toby Stephens as Gatsby is not that impressive and seems to be lifeless.

Therefore, the 2000 movie might be the right choice for those who have little time but need to review the most critical moments of the story.

The Great Gatsby: 2013 Movie

It is the movie that the younger generation is the most familiar with. The Great Gatsby 2013 movie cast, together with the most amazing visual effects, helped this adaptation win multiple awards. However, the number of prizes did not protect it from some negative reviews from both critics and the audience.

The Great Gatsby’s director Baz Luhrmann brought more festive energy and enthusiasm into this newest adaptation. Computer animation, also known as CGI , has become the best tool to recreate the breathtaking imagery of Fitzgerlad’s novel. The fantastic scenes of parties and the Valley of Ashes gives the movie a dreamy look. Moreover, every soundtrack from the list of this 2013 movie has helped to create the mood. No doubts, it beats any effects created for the older movies.

Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, and Elizabeth Debicki are unquestionably the best actors for The Great Gatsby . However, the critics left average reviews on their playing. It seems like the creators were mostly counting on actors and CGI to do the job. Some say that the movie does not present any of the ideas Fitzerald put in the story.

It would be quite fair to note that the characters are changed to some extent. For example, Tom Buchanan is represented as a top villain, leaving no space for DiCaprio to play on Gatsby’s duality. And Nick is shown as a sarcastic party guy with a drinking problem rather than someone who got drunk only once in life before.

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The Great Gatsby: What To Compare It To ( OCR A Level English Literature )

Revision note.

English Content Creator

The Great Gatsby: What To Compare It To

For Component 2, you will study at least two whole texts from the chosen topic area, and at least one of these must be from the core set text list. For the second text, you can either study the other core set text, or another text from a list of suggested set texts. The two core set texts are The Great Gatsby and Grapes of Wrath. Given that The Great Gatsby explores key themes of the American Dream, wealth, class, money and materialism, there are numerous examples of American literature that it can be compared to. A detailed comparison with the first story from other core text, The Grapes of Wrath, will be explored here, along with a comparative summary of other texts:

The Great Gatsby and The Grapes of Wrath

Comparisons with other texts.

The second task in Component 2 is the comparative essay, and it should include an integrated comparative analysis of the relationships between texts. This means that you are required to explore contrasts, connections and comparisons between different literary texts within the topic area of American literature, including the ways in which the texts relate both to one another and to literary traditions, movements and genres. The best responses pick up on the prompt words within the quotation given in the task and then select material accordingly. In this way, by sustaining a coherent, question-focused argument throughout, comparison becomes a technique through which the texts can be used to shed light on each other.

For the following suggested comparison, you will find:

The comparison in a nutshell

Similarities between the ideas presented in each text

Differences between the ideas presented in each text

Evidence and analysis of these similarities and differences

It is better to choose two principal texts to form the basis of your response and to allow references to others to appear briefly as literary context. If you try to write in detail about too many texts you will struggle to produce a coherent, detailed and sustained argument.

Comparison in a nutshell:

This comparison provides the opportunity to compare how American literature has been used to present America during the 20th century.

Similarities:

Differences:

The following list is not exhaustive, and the wider you read, the more connections and comparisons you will have to draw upon in the exam. Some of the following examples are taken from the prescribed text list, while others are suggestions for comparison.

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Author: Nadia Ambreen

Nadia is a graduate of The University of Warwick and Birmingham City University. She holds a PGCE in secondary English and Drama and has been a teacher for over 10 years. She has taught English Literature, Language and Drama across key stages 3 to 5. She has also been an examiner for a leading exam board and has experience designing and delivering schemes of work for AQA, Edexcel and Eduqas.

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The Great Gatsby 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 .

Introduction

Call it the greatest American novel or ultimate story of unrequited romance— The Great Gatsby is undoubtedly a stunning snapshot of one of the most American decades that America has ever seen. The 1920s saw significant economic growth after WWI, and what’s more American than material excess, wealth, and prosperity? The stock market was going off, businesses were booming, and people were having a great time.

Well, not everybody—and on the flipside, what’s more American than socio-economic inequality or the ever-quixotic American Dream?

In this blog, we’ll go through the novel in this context, examine some of its key themes, and also have a think about the critiques it raises about American society. We’ll also go through an essay prompt that ties some of these things together.

Life in the Roaring Twenties

This snapshot from the 2013 film adaptation actually tells us a lot about the 1920s. On the one hand, social and cultural norms were shifting—men no longer sported beards, and women were dressing more androgynously and provocatively. On the other hand, the modern, American economy was emerging—people began buying costly consumer goods (like cars, appliances, telephones etc.) using credit rather than cash. This meant that average American families were able to get these things for the first time, while more prosperous families were able to live in extreme excess.

In Fitzgerald’s novel, the Buchanans are one such family. Tom and his wife Daisy have belonged to the 1% for generations, and the 1920s saw them cement their wealth and status. At the same time, the booming economy meant that others (like the narrator Nick) were relocating to cities in pursuit of wealth, and (like Gatsby) making significant financial inroads themselves. 

The Great Gatsby traces how the differences between these characters can be destructive even if they’re all wealthy. Add a drop of Gatsby’s unrequited love for Daisy, and you have a story that ultimately examines how far people go for romance, and what money simply can’t buy. 

The answer to that isn’t so obvious though. Yes, money can’t buy love, but it also can’t buy a lot of other things associated with the lifestyle and the values of established wealth. We’ll get into some of this now.

Wealth and class

Fitzgerald explores tensions between three socio-economic classes—the establishment, the ‘nouveau riche’ and the working class.

Tom and Daisy belong to the ‘old money’ establishment, where wealth is generational and inherited . This means they were born into already wealthy families, which affects their upbringing and ultimately defines them, from the way they speak (Tom’s “paternal contempt” and Daisy’s voice, “full of money”) to their major life decisions (including marriage, symbolised through the “string of pearls” he buys for her—which, fun fact, is estimated to be worth millions of dollars today). It also affects their values, as we’ll see in the following section.  For now, consider this image of their home (and those ponies on the left, which they also own), described as follows:

“The lawn started at the beach and ran toward the front door for [400 metres], jumping over sun-dials and brick walls and burning gardens—finally when it reached the house drifting up the side in bright vines as though from the momentum of its run.”

Nick Carraway also comes from a similar (though not as extravagant) background—his family had been rich by Midwestern standards for “three generations” before he came to New York.

Conversely, Gatsby belongs to the ‘ nouveau riche ’, or new money. Unlike the Buchanans, Gatsby was born into a poor family, only coming to wealth in the 1920s boom. Specifically, he inherited money from Dan Cody after running away from home at 17.

Although they are all rich, there are significant cultural differences between old and new money. Old money have their own culture of feigned politeness which Gatsby doesn’t quite get. When Tom and the Sloanes invite Nick and Gatsby to supper in chapter six, Gatsby naively accepts, to which Tom would respond behind his back, “Doesn’t he know [Mrs. Sloane] doesn’t want him?” Even though Gatsby is financially their equal, his newfound wealth can’t buy his way into their (nasty, horrible) lifestyle.

Finally, this is contrasted with the working class, particularly George and Myrtle Wilson who we meet in chapter two. They live in a grey “valley of ashes”, the detritus of a prosperous society whose wealth is limited to the 1%. Fitzgerald even calls it a “solemn dumping ground”, suggesting that life is precarious and difficult here. Consider what separates George—“blond, spiritless… and faintly handsome”—from Tom (hint: $$).

Myrtle is described differently, however—she is a “faintly stout” woman with “perceptible vitality”. This may be less of a description of her and more of a commentary on Tom’s sexuality, and what attracts him to her such that he cheats on Daisy with her. Still, Myrtle’s relative poverty is evident in her expressions of desire throughout their meeting—“I want to get one of those dogs,” she says, and Tom just hands her the money.

Ultimately, looking at the novel through the lens of class, we see a society where upward social mobility and making a living for yourself is possible, just not for everybody. Even when you get rich, it doesn’t guarantee that you’ll suddenly, seamlessly integrate into the lives of old money. 

Morality and values

Added to this story of social stratification is a moral dimension, where Fitzgerald can be a little more critical. 

Firstly, old money is portrayed as shallow . Daisy’s marriage to Tom and the Sloanes’ insincerity are elements of this, but another good example is Gatsby’s party guests. Many aren’t actually invited—they invite themselves, and “they came and went without having met Gatsby at all.” Their vacuous relationship to Gatsby is exposed when he dies, and they completely abandon him. Klipspringer, “the boarder”, basically lived in Gatsby’s house, and even then he still wouldn’t come to the funeral, only calling up to get a “pair of shoes” back. 

The rich are also depicted as cruel and inconsiderate, insulated from repercussions by their wealth. Nick’s description of Tom’s “cruel body” is repeatedly realised, as he breaks Myrtle’s nose in chapter two and condescends Gatsby with “magnanimous scorn” in chapter seven. After Myrtle dies, Nick spots the Buchanans “conspiring” and describes them as “smash[ing] up things and creatures and then retreat[ing] back into their money or their vast carelessness”—he sees them as fundamentally selfish.

Gatsby is portrayed more sympathetically though, which may come from his humble upbringing and his desire to be liked. This is probably the key question of the novel—is he a hero, or a villain? The moral of the story, or a warning? Consumed by love, or corrupted by wealth?

I’m going to leave most of those for the next section, but I’ll finish here with one last snippet: Lucille, a guest at his parties, tears her dress and Gatsby immediately sends her a “new evening gown”. Weird flex, but at least he’s being selfless…

That said, a major part of Gatsby’s character is his dishonesty, which complicates his moral identity. 

For starters, he fabricates a new identity and deals in shady business just to reignite his five-year-old romance with Daisy. We see this through the emergence of Meyer Wolfsheim, with whom he has unclear business “gonnegtions”, and the resultant wealth he now enjoys. 

In chapter three, Owl Eyes describes Gatsby as a “regular Belasco”, comparing him to a film director who was well-known for the realism of his sets. This is a really lucid analysis of Gatsby, who is in many ways just like a film director constructing a whole fantasy world.

It’s also unclear if he loves Daisy for who she is, or just the idea of Daisy and the wealth she represents. Indeed, he doesn’t seem to treat her as a person, but more like something that he can pursue (like wealth). This is a good read, so I won’t really get into it here—just consider how much things have changed since Gatsby first met Daisy (like her marriage and her children), and how Gatsby ignores the way her life has changed in favour of his still, stationary memory of who she used to be.

Love, desire and hope

All of this makes it tricky to distil what the novel’s message actually is. 

Is it that Gatsby is a good person, especially cast against the corrupt old money?  

This analysis isn’t wrong, and it actually works well with a lot of textual evidence. Where Nick resents the Buchanans, he feels sympathy for Gatsby. He explicitly says, “they’re a rotten crowd…you’re worth the whole damn bunch put together.” Maybe love was an honourable goal compared to money, which ostensibly makes you “cruel” and “careless”. 

I wouldn’t say he was cruel, but this reading is complicated by how he can be careless, choosing not to care about Daisy’s agency, and letting his desires overtake these considerations. 

Is it that Gatsby and his desire for Daisy were corrupted by wealth despite his good intentions? 

There’s also evidence to suggest wealth corrupts—Nick describes it as “foul dust” that “preyed” on Gatsby, eroding his good character and leaving behind someone who resembles the vacuous elite. Although love might’ve been an honourable goal, it got diluted by money. 

Gatsby’s paradigm for understanding the world becomes driven by materialism, and he objectifies Daisy. He starts trying to buy something that he originally didn’t need to buy—Daisy’s love. She certainly didn’t fall in love with this man who owned a mansion and a closet full of “beautiful shirts.” Thus, Gatsby is a sympathetic product of a system that was always stacked against him (a poor boy from North Dakota). Capitalism, right?

Is it that capitalist America provides nothing for people to pursue except for wealth, and therefore little reason for people to feel hope?

Past the basics: structural economic tension and the doomed American Dream

Now we want to start thinking beyond the characters (e.g. if Gatsby is a good person or not) and also factor in their social, historical, political and economic context (e.g. if he was doomed to begin with by a society driven by money). This subheading does sound a bit much, but we’ll break it down here. 

A key part of this novel is the American Dream, the idea that America is a land of freedom and equal opportunity, that anyone can ‘make it’ if they truly try. Value is placed on upward social mobility (moving up from a working-class background) and economic prosperity (making $$), which defined much of the Roaring 20s…

…for some. 

For many others, there was significant tension between these lofty values and their lived reality of life on the ground. As much as society around them was prospering, they just couldn’t get a piece of the pie, and this is what makes it structural—as hard as George Wilson might work, he just can’t get himself out of the Valley of Ashes and into wealth. Indeed, you can’t achieve the Dream without cheating (as Gatsby did). 

So, there’s this tension, this irreconcilable gap between economic goals and actual means. Through this lens, the tragedy of The Great Gatsby multiplies. It’s no longer just about someone who can’t buy love with money—it’s about how nobody’s dreams are really attainable. Not everyone can get money, and money can only get you so far. Everyone is stuck, and the American Dream is basically just a myth. 

Thus, the novel could be interpreted as a takedown of capitalist America, which convinced people like Gatsby that the answer to everything was money, and he bolted after the “green light” allure of cold, hard cash only to find out that it wasn’t enough, that it wasn’t the answer in the end.  (.

Consider what kind of message that sends to people like the Wilsons—if money can’t actually buy happiness, what good is it really to chase it? And remember that Gatsby had to cheat to get rich in the first place. 

Is [the novel’s message] that capitalist America provides nothing for people to pursue except for wealth, and therefore little reason for people to feel hope?

You tell me.

Prompt: what does Fitzgerald suggest about social stratification in the 1920s?

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

Let’s try applying this to a prompt. I’ll italicise the key points that have been brought up throughout this post. 

Firstly, social stratification clearly divided society along economic lines . This could be paragraph one, exploring how class separated the Buchanans and Wilsons of the world, and how their lifestyles were so completely different even though they all lived in the prosperity of the Roaring 20s . George Wilson was “worn-out” from work, but he still couldn’t generate upward social mobility for his family, stuck in the Valley of Ashes. Conversely, Tom Buchanan is born into a rich family with his beach-facing mansion and polo ponies . Colour is an important symbol here—the Valley is grey, while East Egg is filled with colour (a green light here, a “blue coupe” there…).

The next paragraph might look at the cultural dimension , exploring how you just can’t buy a way of life. This might involve analysing Gatsby’s wealth as deluding him into thinking he can “repeat the past” by buying into the life(style) of old money . This is where Fitzgerald disillusions us about the American Dream —he presents a reality where it isn’t possible for anyone to ‘make it’, where the Buchanans still treat you with scorn even if you’re just as wealthy. Gatsby’s dishonesty is ultimately a shallow one—try as he might, he just cannot fit in and win Daisy back.

Finally, we should consider the moral dimension —even though the wealthier socioeconomic classes enjoyed more lavish, luxurious lifestyles, Fitzgerald also argued that they were the most morally bankrupt. Money corrupted the wealthy to the point where they simply did not care about the lives of the poor, as seen in the Buchanans’ response to Myrtle’s death. Even Gatsby had to compromise his integrity and deal in shady business in order to get rich—he isn’t perfect either. Social stratification may look ostentatious and shiny on the outside, but the rich are actually portrayed as shallow and corrupt. 

A good essay on this novel will typically combine some of these dimensions and build a multilayered analysis. Stratification, love, wealth, morality—all of these big ideas can be broken down in terms of social, economic, cultural circumstances, so make sure to consider all angles when you write. 

Have a go at these prompts!

1. Nick is biased in his assessment of Gatsby—both of them are no better than the corrupt, wealthy Buchanans. Do you agree?

2. In The Great Gatsby , money is a stronger motivating factor than love. Do you agree?

3. Daisy Buchanan is more innocent than guilty—explore this statement with reference to at least 2 other characters. 

4. What does Fitzgerald say about happiness in The Great Gatsby ?

5. Is money the true antagonist of The Great Gatsby ?

6. The women of The Great Gatsby are all victims of a patriarchal society. To what extent do you agree? (Hint: are they all equally victimised?)

Challenge: According to Fitzgerald, what really lays underneath the façade of the Roaring 20s? Make reference to at least 2 symbols in The Great Gatsby . (Hint: façade = “an outward appearance that conceals a less pleasant reality” – think about things like colours, clothes, buildings etc.)

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Metalanguage is language that describes language. The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis, we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language. For a detailed discussion, see  What is metalanguage?

• Protagonist
• False protagonist
• Secondary character
• Supporting character
• Major character
• Minor character
• Philosophical
• Non-fiction
• Short stories

Language form

• ProseIambic pentameter
• Blank verse

Narrative mode

• First person view
• Second person view
• Third person view
• Third person objective
• Third person
• Third person omnipresent
• Third person limited
• Alternating narrative view
• Stream-of-consciousness
• Linear narrative
• Nonlinear narrative

Narrative tense

• Anti-climax
• Trope-cliché
• Turning point
• Geographical

Other literary techniques

• Active voice
• Alliteration
• Ambivalence
• Bildungsroman
• Characterisation
• Cliffhanger
• Colloquialism
• Complex sentence
• Compound sentence
• Connotation
• English (American)
• English (Australian)
• Flash forward
• Foreshadowing
• Juxtaposition
• Onomatopoeia
• Passive voice
• Periphrasis
• Personification
• Positioning
• Simple sentence

Whether you consider yourself a Frankenstein expert, or someone who is a bit taken back by the density of the novel and Shelley’s writing, do not fret! Below I will outline 3 tips which, will hopefully give you a clearer perspective on how to approach writing on Frankenstein! Let’s get started!

1. ALWAYS TRY TO TALK ABOUT SHELLEY’S CONCERNS

Since the book was set during the Age of Enlightenment and the Romantic era, Shelley essentially used Frankenstein as a vessel to criticise and warn readers against many of the values upheld during her era. It’s therefore crucial that you address this!

The late 18th century and the first decades of the 19th century were exciting times for science and exploration. Shelley’s two main protagonists, Walton and Frankenstein, both passionately sough to discover what had previously been hidden. Walton wanted to be the first to find a passage through the Arctic Circle; Frankenstein wanted to be the first to create manmade life, to uncover the mysteries of Nature.  Both men claimed to be desirous of benefitting humankind but both wanted glory more. This obsession to win accolades for their discoveries will destroy Victor, and turn Walton for a while into a hard taskmaster over his crew.

Juxtaposed against these two characters is Henry Clerval. Clerval, too, has an inquiring mind but he also cares about humanity, family and friends. He represents the balanced human being who is sociable, compassionate, intelligent and loyal to his friends. Victor’s ability to reanimate the dead, to bring to life his gigantic Creature using the newly discovered electricity, makes him a genius but also a monster. In his inexperience he botches the work producing a hideous and terrifying creature with, ironically, initially all the virtues of the ideal man of he world. Repulsed by his amateurish handiwork, Victor abandons his creation, setting in place the vengeance that will unfold later.

Try to ground any response to Shelley’s text in the enormous enthusiasm for new discoveries and new geographic phenomena that attracted lavish praise for those who went where others feared to tread. It was this praise that drove Walton and Frankenstein to exceed reasonable expectations becoming reckless and careless of the consequences of their actions.

2. ALWAYS TRY TO DRAWS LINKS AND CONTRAST DIFFERENT CHARACTERS AND THEMES!

Walton, Frankenstein and the Creature are interconnected in so many ways – whether it be their isolation, ambition, desire for companionship, desire for vengeance or the Romantic values they share. I’ve also noted that it is also really easy to connect themes in Frankenstein as the tragic story-arc of the novel is built upon many different causes. What I mean by this is that there is a clearly define relationship between isolation, ambition and vengeance (and ultimately tragedy) in the sense that isolation is what led to the brewing of unchecked ambition which essentially causes the resultant tragedy.

Take Frankenstein for example: having left his loving family and friends, who provided him with love and companionship for Ingolstadt, there was no one to hold him back from his natural tendencies towards unchecked ambitions, leading him to creating the monster who out of spite towards society kills all of Frankenstein’s loved ones, leading them towards the desire for mutual destruction. Being able to see these links and draw them together will not only add depth to your writing but it also arms you with the ability to be able to deal with a wider array of prompts.

3. ALWAYS TRY TO LOOK FOR MORE NUANCED EXAMPLES AND DISCUSSIONS!

While Walton, Frankenstein and the Creature can be discussed incredibly thoroughly (and by all means go ahead and do it), but it is also very important to consider the novel as a whole and talk about, if not more thoroughly, on the minor characters. While characters such as the De Laceys, villagers and the rustic in the forest can be used to highlight the injustices brought upon the creature and people’s natural instincts of self preservation and prejudice, innocent characters such as Elizabeth and Justine can be used to emphasise the injustice of society and the consequences of unchecked ambition and isolation.

Henry Clerval (like previously mentioned) can be contrasted against Walton and his best friend Frankenstein to show that as long as we have a balanced lifestyle and companionship, ambition will not lead us to ruin. Characters such as the Turkish merchant can also have parallels drawn with Frankenstein in telling how our selfish desire and actions, born out of inconsideration for their consequences, can backfire with great intensity. Lastly the character of Safie (someone I used a lot in my discussions) can be compared and contrasted with the Creature to show the different treatment they receive despite both being “outsiders” to the De Laceys due to their starkly different appearances.

Mentioning these characters and utilising these contrasts can be monumental in showing your understanding of the novel and by extension, your English analytical ability.

[Video Transcription]

‍ Hey guys, I'm Lisa, welcome back to Lisa's Study Guides. Today, we're going to be talking about Frankenstein and breaking down an essay topic for it. So in the past, I've done plenty of videos looking at different types of essay topics and breaking them down by looking at keywords and then going into the body paragraphs and looking at those ideas. This time round, the takeaway message that I want you to leave with is understanding what types of evidence you should be using inside your body paragraphs. Specifically, I wanted to talk about literary devices or metalanguage. Mary Shelley, the author of Frankenstein uses so many literary devices that it's impossible to ignore. If you are somebody who is studying this text or other texts that you use and are heavily embedded with literary techniques, then it's really important that you don't just use dialogue as part of your quotes, but actually reading between the lines. I'll teach you on how it's not just about finding dialogue, which you include as quotes inside your body paragraphs, but reading between the lines, so looking at literary devices like metaphors, symbols, imagery, so let's get started. Mary Shelley's Frankenstein constitutes escaping critique of the prioritization of scientific advancement over human welfare and relationship. Dr. Frankenstein is fascinated with science and discovery, he is consumed with the idea of a new and more noble race by stitching up dead body parts from a cemetery. He feverishly works away at his experiment until one day the creature is born. Frankenstein is horrified at the living thing he has made and completely rejects the creature, leaving it without a parental figure. The creature is left alone to look after himself. He educates himself and on repeated occasions tries to approach people in society, however, is rejected every time because of his monstrous appearance. As a result, the creature becomes enraged at humanity and Frankenstein's unfair treatment towards him and consequently exacts revenge on Frankenstein and his family. The essay topic we'll be looking at today is, Our sympathies in this novel ultimately lie with the creature. Discuss. So in previous videos, we've looked at keywords, how to identify them and how to define them. Since it's pretty straightforward for this essay topic, I thought I would skip that part and then go into the more nitty gritty with the body paragraphs. But, if you are unfamiliar with these steps, then I'll link them in the card above and also in the description below so you can have a look at how I went ahead and did the keyword section in my planning, now back to the prompt. Unequivocally within Frankenstein, Shelley portrays sympathy as spread throughout the text through depicting the creature as innately human through his desire for relationship and the challenges he faces at the hands of the prejudice enlightenment society he's born into, Shelley elicits sympathy for his situation. However, through the notable absence of the female gender throughout the text, Shelley portrays those silent within society as most deserving of sympathy. So, with this in mind, here are the potential paragraphs in response to this prompt. Paragraph one, Shelley's depiction of the creature as innately human motivates support for his challenges at the hands of a prejudice society. The action of the creature to open his dull yellow eye, symbolic of his nature as a human being alongside a green wrinkled on his cheeks, with one hand stretched out, indicates his simple desire for paternal connection. Through constructing the creature's actions as innately human Shelley acts proleptically of the inequitable experiences the creature will experience throughout the structural architecture of the text. And through doing so, depicts his character as worthy of support. Similarly, through the metaphor of fire, Shelley explores the duality of progress and innovation of which the creature desires. The fire, one that gives light as well as heat, yet also causes a cry of pain, indicates the hardships of the creature in his isolation, whereby, his forced to withdraw from his desire for education. Upon viewing himself in a pool, the creature becomes "fully convinced that I was in reality [a] monster" with the consequent sensations of despondency and mortification granting the reader the opportunity to sympathize with the creature in order to indicate the intensely negative social prejudices that are inflicted upon the creature. So you can see that we've looked at symbols of the creature's nature and the metaphor of fire to support our topic sentence. Using literary techniques is what's going to make the difference between you and another student who might be saying the same thing. Why? Because when you look at literary devices, it means that you're reading just beyond the lines, just beyond what's in front of you. You're now introducing your own interpretation, so you're looking at fire and thinking about what that means in connection to the text, and why Mary Shelley would use the term of a fire and revolve her discussion around that. So let's see how we keep doing this in the next body paragraph. Paragraph two, Shelley indicates the significance of relationships as a key element of human nature that the creature is denied, motivating affinity from readers. In replacement of human relationships, the creature rather seeks comfort within the natural world. The metaphorical huge cloak that the creature takes refuge within indicates this, illustrative of an ecosystem, the forest allows the creator to surround himself with life. The subsequent attempts to "imitate the pleasant songs of the birds" reveals the desperate urge of the creature for companionship as he is abandoned by the paternal relationship represented by Victor Frankenstein, which forms a core of human relationships. Again, here we've discussed the metaphorical huge cloak and its connection with the forest, I strongly encourage you to have the goal of discussing at least one literary device per body paragraph. And no, there is no such thing as talking about too many literary devices because it's really just about whether or not your argument is concise and whether or not you're backing that up with evidence. Paragraph three. However, it is Shelley's depiction of the submissive female sex within Frankenstein that becomes most deserving of sympathy. Each female character is characterized as passive, disposable, and they're serving a utilitarian function, namely as a channel of action for the male characters within the text. Notably, the complete lack of absence of Margaret Saville, functioning only as an audience for Walton's letters exemplifies this. Margaret's role within the text is simply to enable Walton to relay the story of Frankenstein and as such were the most necessary character of the texts whilst the most distant. This ironic dichotomy enables Shelley to exemplify the difficult role of the female within society, arising sympathy from the readership. Here, even the purposeful emission of a character is discussed as a language technique. So, this type of literary device definitely tops the cake because you're literally looking at what's not even there. That's definitely reading between the lines. Frankenstein is a very complex novel, and sometimes that's what makes it a difficult text to study. But, it lends itself to many unique interpretations and it's heavily dressed with heaps of literary devices or metalanguage, however you want to call it. So, that's what makes it an absolutely fantastic text for high school students to study. If you wanted to find out more on how to nail a Frankenstein essay, then I'll link you to my blog just down below, because there are definitely more tips there to help you excel in this particular text. Thank you so much for watching, and especially even if you're not studying this text, I hope you've been able to take something away from this video. And I'm confident that you have because talking about literary devices is definitely a topic that isn't necessarily the fore front of discussion in classrooms, and it's something that a lot of people struggle with. So, I hope you are able to walk away with a new goal in sight in order to improve your English essays. So, I will see you guys next time, thank you so much for joining me, see you guys soon. Bye!

The following blog post (updated 02/10/2020), is a mix of the video transcription, along with some new pieces of advice and tips. Happy learning!

[Video Transcription]

Hey guys. Welcome back to Lisa's Study Guides. Right now, it's in the middle of December, and I know that most of you should have finished school by now, and you're enjoying your school holidays. Because it is summer holidays, and most people aren't really studying right now, this is for the truly keen beans, the people who are reading the text before the school starts, which, by the way, you should be doing. I'll pop that video in a card up above and so if you are studying Burial Rites, then this video is for you. If you're not, as always, it doesn't really matter because the type of advice that I will be giving would definitely be relevant to any text, because it's more about your thinking and how you actually go around approaching essay topics. ‍

‍ Burial Rites is about this girl called Agnes, and she is the last person in Iceland to be sentenced to the life sentence. This book covers the last few months of her life, living with these people who she's sharing her story with. She has been sentenced because she has murdered Natan. And although we first initially hear that she has murdered this guy, when we start to hear her story develop, that's when we start to see that there are shades of gray. That she did have reason behind what she did, and you can start to feel quite sympathetic towards her. At the same time, though, and this is what today's essay question will be about. There's a lot to do with the patriarchy. Agnes being not just a woman, but an intelligent woman, was something that was looked down upon, and people were scared of that. That's just to give you a little bit of context so that we can start this essay topic. ‍

Essay Topic

‍ Today's chosen essay topic is:

Women have no power in Burial Rites, the patriarchy dominates their lives. To what extent do you agree?

‍ Step 1: Analyse

‍ The first step, as always, is we look at keywords . What are the keywords here? To me, they are women, no power, patriarchy and dominates. These words really stand out to me, and these are the words that I feel are necessary for me to focus on in order to answer this prompt properly. The second step that I do is I define keywords . So what I do here is I try to understand what the keywords mean and also their implications.

• Women , is our first keyword. it's easy just to say, "Oh, women includes this character and this character." But we can start to think about more so the implications as well. So don't just think about the major characters like Agnes and Margret, but also think about the minor characters like Sigga and Rosa.
• No power. So to me, no power means to lack freedom. It's not necessarily no power like you know I'm not strong and this is why we need to actually define the words because many words have multiple connotations or they have multiple meanings. So you need to figure out, "Okay, how am I going to find this word so that I've got the right focus for the rest of my essay?" This is silly, but what if you, halfway through your essay, went, "Holy crap, power could also mean electricity, and I didn't talk about electricity." So electricity is not part of Burial Rites , but it's just something to get you thinking. You know you don't just want to dive straight into the essay, assuming you know what the keyword means and what it entails. Actually spend time to define it, so that it's a lot clearer for you, too. So I've also added that no power means a lack of power compared to men. So because it is a patriarchy, the fact that they have no power is very much sort of linked to the fact that it's male-induced.
• The third keyword is a patriarchy , so a male-dominated society, which means that an analysis of male characters is also required to fully understand male and female interactions. If you have an essay where you only talk about the women, then you're maybe only answering it 50%. To really add extra value to what you're saying and to really solidify your points, talk about the men because everyone influences each other one way or another.
• The last thing is I would also add, ' to what extent' ? When a prompt says, "to what extent?" to me, it means that some sort of challenge is required here. It's probably not enough if I just completely agree with it because it's only suggesting that the extent does end somewhere and that you need to go beyond it.

Step 2: Brainstorm

While in this video I don't cover the brainstorm process, you can learn more by reading up on my THINK and EXECUTE strategy , which has helped thousands of students achieve better marks! ‍

Step 3: Create a Plan

‍ My third step is I plan out key arguments. So this is how I'm going to break down this essay prompt. I am going to do two body paragraphs where I agree and one body paragraph where I disagree. So this should mean that I'm only agreeing to a certain extent. Here's a video about this type of essay structure and response:

‍ Body paragraph 1:

So my first body paragraph is yes, under male authority, the women are robbed of freedom and power. My example for that would be Agnes, who is the protagonist. She is a woman who's being sentenced to death for murdering Natan, more about him later, and, as a result, society condemns her and she's robbed of her identity and freedom. "Everything I said was altered until the story wasn't my own." The metaphor of a story represents her being stripped of her experiences and identity, and instead replaced with how others think of her, whore, madwoman and murderess. ‍

Body paragraph 2:

My second body paragraph would be another agreement, but this time I'm going to focus on the men. In this second body paragraph, my argument is men hold exploitative power over women. One, Natan, the person who was murdered, toys with all his whores, demonstrating male dominance in 1820s Iceland. All his workmaids are stranded, shipwrecked with nowhere else to go, highlighting women's hopelessness in changing their situation. Additionally, there's Blondal. So Blondal is a government authority and he's torn when commanding Lauga, Lauga, not too sure how to say that. You guys let me know. "I'm sure you would not question me," which is also another example of women's subordinate status.

Body paragraph 3:

The third one is one where I disagree. Here will be that there are rare instances of female empowerment in the novel. The first one will be Rosa, the poet. So Rosa has an affair with Natan, but Kent praises Rosa and she's described to be a wonderful woman and beautiful. Rosa transcends patriarchal structures, as she is assertive, headstrong, going against social codes in an act of female empowerment. The second one will be Agnes. Her storytelling and ability to express what she is inside allows her to gain a voice in the patriarchal world that has silenced her. Through her storytelling, she asserts her self-worth and dignity and despite the fact that she has been locked down, she is being treated like crap by the men, her ability to hold herself strong and to be able to face her death with dignity means that with some sense, at least from within, that sense of empowerment has not been completely diminished.

If you found this blog and video helpful, and would like to see Burial Rites essay writing in action, then I recommend you check out How To Write A Killer Text Response below!

Updated 24/12/2020

• Themes, Motifs and Key Ideas
• Comparative Essay Prompt Example
• Sample Essay Topics

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 Betty’s 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. Ham’s gothic novel garners the audience’s sympathy towards the outcasts of the town and antagonises those who find pleasure in creating drama and spreading rumours about others.  

2. Themes, Motifs and Key Ideas

Through discussing themes, motifs, and key ideas , we’ll gain a clearer understanding of some super important ideas to bring out in your essays. Remember, that when it comes to themes, there’s a whole host of ways you can express your ideas - but this is what I’d suggest as the most impressive method to blow away the VCAA examiners. 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 ‘upper class’, whilst people living paycheck to paycheck and struggling to get by are ‘lower class’.

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 ‘tip’ where they have lived for generations. Dungatar and Salem view this social division as a ‘given’ 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 – 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 , that’s 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 Salem’s class structures and replace it with their own tyranny, Parris’ original intention was to use their power to reinforce his authority. In The Dressmaker , Tilly is threatening because she doesn’t neatly fit in to Dungatar’s 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, there’s 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 , it’s all about religion – Reverend Parris’ 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 don’t follow his will. In the case of The Dressmaker , there’s 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.  

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 ‘middle of no-where’.

However, what is starkly different between the texts is how this isolation shapes the respective communities’ self-image. For Salem, its citizens adopt a mindset of religious and cultural superiority – 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 God’s soldiers protecting his kingdom. Even the name ‘Salem’ references ‘Jerusalem’, revealing that the Salemites see themselves as the second coming of Christ, and the fulfilment of the Bible’s promises.

Not much of the same can be said for The Dressmaker . Dungatar lacks the same religious context, and the very name of ‘Dungatar’ references ‘dung’, 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 ‘within’ and are a result of their own division. For Dungatar, it’s 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.

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

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.

Step 1: Analyse

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 ‘treated’. 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.

We’re going to skip Step 2: Brainstorm today, but if you’re familiar with LSG teachings, including the THINK and EXECUTE strategy discussed in my How To Write A Killer Text Response ebook, then you’ll 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 ‘Negro slave’ is the first person to be accused by witchcraft in Salem. Her ‘consequent low standing’ is also shown through her use of language ‘You beg me to conjure! She beg me make charm’ 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 ‘Teddy McSwiney was, by the natural order of the town, an outcast who lived by the tip’. 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 ‘it’s either her [Gertrude] or Tilly Dunnage’
• Also discuss Giles Corey’s 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.

• There’s also a quote on this by Molly ‘But you don’t matter – it’s open slather on outcasts'. Herein, she warns the audience of how quickly outcasts can become victims of rumours and accusations as the term ‘slather’ 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 girls’ 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 ‘daughter of Mad Molly is back – the murderess!’ Likewise discuss how Goody Osbourne the ‘drunkard half-witted’ 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 ‘reading strange books’, and Sarah Good due to the mere act of ‘mumbling’. The normality of these actions underlines the absurdity of the accusations made against these individuals, furthering Miller’s 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. Proctor’s evasion of ‘tearing the paper’ and finding ‘his goodness’ 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 ‘if you had included [Tilly], Teddy would have always been with us’, 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 ‘murderess’.
• 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 ‘I think you best send Reverend Hale back as soon as he come. This will set us all to arguin’ again in the society, and we thought to have peace this year'.

4. Sample Essay Topics

1. 'I say—I say—God is dead.' —John 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 author’s 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.

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

Understanding Context in The Crucible and The Dressmaker

The Crucible by Arthur Miller

The Dressmaker by Rosalie Ham

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

Why Is the Context Important?

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

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

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

The Crucible, Arthur Miller

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

The Dressmaker, Rosalie Ham

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

Example Context Paragraph

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

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

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

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

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

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

Comparing The Crucible and The Dressmaker

We've explored themes, characters, literary devices and historical context amongst other things over on our Women of Troy by Euripides blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out as well as our Ultimate Guide to VCE Text Response .

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

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

Without further ado, let’s get into it!

The Prompt: ‘“We are loot my son and I, soldiers’ plunder.” Discuss how Euripides highlights the plight of women taken as slaves in war.’ 

The first thing to note about this prompt is that it is a 'how’ question , it is essentially asking us to identify the literary techniques Euripides has employed in order to ‘highlight’ the women’s ‘plight’. The noun ‘plight’ is defined as a troublesome or unfortunate situation, yet we must consider this word in the context of war. How do the women suffer? In other words, how does Euripides demonstrate to his reader just how dejected the women are as slaves?

It is relatively simple to identify the literary techniques which consistently appear throughout Euripides’ play, such as imagery, metaphor and simile ( not entirely sure what literary techniques are? We have a list of them for you here ). However, keeping in mind we have to form three paragraphs, we should consider Euripides’ authorial voice more broadly. For example, the women consistently lament their disillusionment with the gods. This is not a literary technique in itself, but it is still a literary choice which Euripides has made and which has been deepened with more specific literary devices like metaphor. The same could be said for the women’s struggle for hope, and the contrast between their joyous pasts and dismal futures.

Unlike a ‘to what extent’ question, we do not have to form an argument. Instead, we must forge a discussion of Euripides’ literary decisions as a playwright.

P1: Euripides juxtaposes the triumphant pasts of the Trojan women with their tragic futures. The 'shining citadels of Troy' are now a 'black smokened ruin’.

P2: Euripides illuminates the women’s attempts to retain futile hope. Note that hope also comes in the form of revenge.

P3: The dramatic irony of the play renders the women’s desperate calls upon the gods all the more tragic. Here, we can also make reference to the prologue, and Athene’s ploy to create a storm on the Greeks’ journey home which also ultimately affects the women.

At the heart of the conflict in The Women of Troy , lies the anguished 'suffering' (1) of the Trojan women as they confront their fates as 'slaves', and remember their pasts as wives and mothers. In his tragedy, first performed in Athens circa 415 BCE, Euripides amplifies the conflicted voices of the Trojan women, voices which are by contrast suppressed and disregarded in the Homeric works the Iliad and the Odyssey . Euripides’ stark dichotomy between the glories and 'rituals' of the past, and the sombre 'grief' of the present, elucidate the magnitude of their losses, both material and moral. For as Andromache laments, these women have been objectified as 'loot', mere spoils of war to be abused and exploited. (2) The women’s tendency to clutch onto chimerical (3) hopes and values only serves to further illuminate the profundity of their suffering once these ambitions have been brutally quashed in the 'dust' of their 'smoke blackened ruin' of Troy. Perhaps most significantly, Euripides juxtaposes the lingering though pitiful hope of the women with the gods’ complete 'desert[ion]' of Troy, positioning the women in an ironic chasm of cruel abandonment. Thus, the plight of women as wartime captives is dramatised by Euripides, corralling the audience into an ultimate stance of pity and empathy.

Annotations: (1) It is often useful to embed short/one word quotes in your essay (we teach you how in How To Embed Quotes in Your Essay Like a Boss ). It shows you have a great understanding of the text, and reads fluidly as opposed to overly long quotes.

‍ (2) Here, I have addressed the quote in the prompt in a single sentence, unpacking Euripides’ analogy of Andromache and Astyanax as ‘loot’. By comparing the two characters to war spoils, he is suggesting that they have been stripped of their free will and autonomy.

‍ (3) It is really important to vary your vocabulary in order to increase the sophistication of your essay. The adjective ‘chimerical’ refers to an ideal which is impossible to achieve.  

Euripides’ juxtaposition between the dismal future of the Trojan women and the zenith of their pasts, further illuminates the chasm of their sufferings and losses as the ultimate victims of wartime atrocities. Chiefly, Euripides contrasts Hecuba’s former royal status with the demoralizing fate of her captivity, encapsulating this tragic fall from nobility with the ironic imagery, 'throned in the dust’. Yet perhaps what truly emphasises her plight as a slave is her enduring role as a maternal figure of leadership, encapsulated in her regard of the chorus as '[her] children' and her reciprocated address as 'dear queen' and 'your mother'. Despite the 'death agony' she feels, she chooses to maintain her nobility through the depth of her morality, dramatizing the pitiful nature of her plight (4) . Moreover, Euripides’ juxtaposition between the 'shining citadels of Troy' and the 'misery' of the chorus elucidates the significance of 'home', a source of solace which has been barbarically stripped away from them. Likewise, Andromache laments her past as a dutiful and faithful wife, contrasting her fidelity against her fate as a 'concubine' to the formidable Neoptolemus (5) . Euripides implies that Andromache must abandon her reputation as the 'perfect wife' – the very attribute for which she was chosen especially – doomed to confront a life of sexual slavery, an unwilling mother of Neoptolemus’ children.

Annotations: (4) Here, I have used the word ‘plight’, making sure I am engaging directly with the prompt. It is often easy to fall into the trap of creating a generalised essay which only loosely adheres to the question. 

‍ (5) It is more sophisticated to specify the name of Andromache’s husband (Neoptolemus), rather than to just simply state ‘Andromache’s husband’ (even though he is not featured as a character in Euripides’ play).

Euripides (6) characterises the women by their tendency to clutch on to 'hope[s]' and ideals that are impossible to fulfil. Almost a coping mechanism of sorts, the chorus paradoxically romanticise the Greek landscape in the first episode, lauding the 'sacred halls', 'green fields', 'beautiful river[s]' and 'wealth' of Hellas. Yet, their ardent critiques of their future 'home[s]' rejects any notion that the women truly believe these glorifications of the Greek realm. Similarly, Hecuba is motivated by her futile hope that Astyanax may one day seek vengeance and be 'the savior of Troy' by 'rebuild[ing]' the city. Yet tragically, this doomed hope is violently quashed by Odysseus 'blind panic' and acute lack of rationality: the 'liar' and 'deceiver' who 'lead the Greek council' in their debate. Though this hope initially provides her with some form of solace, all comfort is dashed with the announcement of his 'butchery'. Likewise, Cassandra is motivated by her own pursuit for revenge, lauding her 'sacred marriage' to Agamemnon as an event worthy of 'praise' and 'celebration'. Yet her hope is also jaded, for she must in the process 'flout all religious feeling' as a slave of Agamemnon’s 'lust', until she meets her painful hour of death at Clytemnestra’s hands.

Annotations: (6) Notice that several of the sentences have begun with ‘Euripides characterises’ or ‘Euripides illuminates’, engaging with the ‘how’ part of the prompt. We are showing what the author has done and why.

Ironically, Euripides illuminates the plight of the Trojan women through his dramatic elucidation of the gods’ callous abandonment of the ruined Troy. Euripides juxtaposes the past 'rituals', 'dances', 'songs', 'sacrifices', 'offerings' and 'ceremonies' of the chorus with their bitter laments that 'the gods hate Troy' and that they are ultimately characterised by avarice. They are neither answered not consoled in their ultimate time of mourning, for the audience is aware that Poseidon has fled the scene in the prologue, disillusioned by the 'ceas[ing]' of 'worship', leaving 'nothing (…) worth a god’s consideration' in the fallen city. What is also rendered ironic by Euripides, is Athene’s formidable ploy to 'make the Greeks’ return home a complete disaster.' Regardless of Athene’s true motives for instigating this ultimate pursuit of comeuppance, the fact remains that the women too must endure this perilous journey to Greece. Not only are the despairing wives, mothers and daughters condemned to 'abject slavery' on foreign soil, they are 'innocent: victims who may – alongside the Greeks – find themselves on the shores of Euboea, among the 'float[ing] (…) corpses' of the Greek soldiers. They are not simply abandoned by the gods, they are, directly or indirectly, punished. (7)

Annotations: (7) This is a more original point which other students may not automatically think of. We often view Athene’s ‘ploy’ as a deserved punishment of the ‘murderous’ Greeks, yet there is no true justice, for the women too are ultimately affected.

In a play which serves to fill the silence of the Trojan women in the legendary works of the Iliad and the Odyssey (8) , Euripides augments the pitiful plight of the Trojan women with agonizing references to past 'happiness', and equally unbearable forecasts of their roles as 'slaves' of Greek lust. They are indeed 'loot' and they are indeed 'plunder' – as Andromache so bitterly laments – yet their plight is recorded in the works of 'poets' to come, remembered as a legacy of stoicism 'a hundred generations hence.' Taken as our 'great theme', these women are 'sufferer[s]', yet they are also heroes.

Annotations: (8) Just as I have done in the introduction, I have referred to the context of the play in the conclusion. The Iliad and the Odyssey provided the framework for Euripides’ play, so by referencing Homer’s works we are showing the examiner that we have an understanding of the historical context. 

If you'd like to dive deeper into Women of Troy, check out our A Killer Text Guide: Women of Troy study guide. In it, we teach you how to how to think like a 50 study scorer through advanced discussions on topics such as views and values and metalanguage, we provide you with 5 A+ sample essays that are fully annotated and everything is broken down into easy-to-understand concepts so that students of all levels can understand and apply what we teach!!

Ransom 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 .

• Plot, Analysis, Important Passages and Quotes

1. Characters

Priam is an elderly king of Troy. As a child, his sister Hesione saved him from slavery, and had his named changed from Podarces to Priam, the name meaning ‘the ransomed one’ or ‘the price paid'. After the death of his son Hector, Priam envisions himself in plain clothing, riding a plain cart to Achilles who is effectively holding Hector ransom. His vision is the catalyst for the novel’s events, for his journey is one of learning and self-development. Though the royal family is doubtful of his plan to save Hector, Priam is resolute and insists that he needs to try his best to confront Achilles as a father, rather than as king. After many decades as king of Troy, Priam is determined to reinvent how he will be remembered; as a king who performed an extraordinary act of heroism in order to save his beloved son.

Achilles is known as the greatest warrior of the Greeks. The death of Patroclus, his closest companion and hinted lover, drives Achilles to insanity. Hector murdered Patroclus and, as a result, Achilles takes revenge by killing Hector. He then drags Hector’s dead body along the walls of Troy for the next 11 days. Achilles loses his sense of humanity as he is possessed by his rage, hatred and grief.

Somax is representative of the ‘common man’ in Ransom . He is chosen to escort Priam to Achilles. His simple and plain presence is contrasted with Priam’s royal status. He often engages in useless chatter and performs daily activities in a way that is foreign to the king. Although Somax is far from royalty, his great deal of affection for his daughter-in-law and granddaughter teaches Priam about love, family and life.

Beauty is Somax’s favourite mule. She accompanies Priam and Somax on their journey to the Greek camp where Achilles resides.

Somax’s other mule who carries the cart to Achilles’ camp.

Hecuba is Priam’s beloved wife and mother of Hector. She is initially uncertain of Priam’s vision to save Hector. However, after hearing Priam’s sentimental reasons, she shows support and urges him to first share his plan with their family and the kingdom’s council before he departs.

Hector is Priam’s son and also the leader of the Trojan army. He is kind, brave and noble without any cruel intentions, unlike his rival Achilles. During a battle between the Trojans and the Greeks, Hector kills Patroclus. This results in Achilles challenging Hector to a battle, resulting in Hector’s death and Achilles’ triumph.

Neoptolemus

Neoptolemus is Achilles’ son. Although he is mentioned throughout Ransom , he makes his first appearance at the end of the novel where he savagely slaughters an old and defenseless Priam in an effort to avenge his father’s death. ‍

‍ 2. Themes

Ransom explores who we are and what it means to have an identity. As the leader of Troy for many decades, Priam has always viewed himself as a king. It appears as though Priam has been unhappy with his identity for quite some time, is physically weak, and feels as though he cannot protect his kingdom as efficiently as he used to. However, the death of Hector is a catalyst for Priam as he realises that he needs to become a ‘father’ rather than the ‘king’ he had become so accustomed to. His search for Hector is also a search for himself, to reinvent who he is and how he wishes others to remember him.

Meanwhile, Somax is designated as the king’s herald, with the name Idaeus. He secretly notes his unhappiness with this name appointment, since he is ‘Somax, not Idaeus'. The name ‘Somax’ is associated with many significant events in his life including his marriage and family, yet the new unfamiliar name strips him of this identity. Somax’s confidence and pride in his identity is starkly contrasted with Priam’s pursuit for an identity transformation.

Malouf demonstrates that it is never too late to change one’s ways. Priam’s determination to change how he is remembered – from just another king leading a regal life to a hero who went to extraordinary lengths to regain his child – demonstrates that change is within our grasp. Even though his beautiful wife Hecuba and the rest of his family have reservations about his desire to confront Achilles, Priam is resolved in taking a ‘chance', rather than achieving nothing by remaining within the walls of his home. Unexpectedly, this one idea propels Priam into a multitude of other changes. His journey with Somax teaches Priam a far greater deal than he had anticipated, for he learns to appreciate the value of the human connection and other daily simplicities in life.

Although Achilles is driven by hatred and anger after Patroclus’ death, as with Priam, he manages to change his ways. He is touched by Priam’s pleas and consequently accepts the ransom and returns Hector’s body. He is able to reach this state of peace by releasing his immoral intentions and even offers to hold a ritual for Hector’s body in the Greek walls that very night. This transformation, from a human who responds to grief with vengeance to someone who releases and forgives, demonstrates the benefits we can gain from amending our ways.

Revenge, Guilt and Peace

Revenge is portrayed as a never-ending vicious cycle until both parties reach a negotiation or peace. After Patroclus’ death, Achilles hunts down Hector in order to avenge his best friend’s early death. Although he is successful in murdering Hector, Achilles does not follow the custom of leaving the body for the grieving family to bury. Instead, Achilles feels the need to mutilate the body day after day without any sense of remorse or regret. His additional need to inflict harm on Hector’s body indicates that revenge will not bring closure. His sense of loss is shown as he reflects feeling empty inside, to the point where he no longer feels like himself, but someone else altogether.

Although Achilles and Priam ultimately find peace within themselves, many years later Achilles’ son Neoptolemus murders Priam, bounded by the same hatred and pain depicted by Achilles. Neoptolemus’ subsequent guilt and regret is carried with him throughout the rest of his life, demonstrating that again, revenge is not the answer to any problem.

Chance and Fate

The role of the gods is heavily woven into the events that unfold in Ransom. Priam only begins his transition and journey after envisioning the goddess Iris, who suggests that he take a ‘chance’ and try to save Hector from Achilles’ camp. During his journey, a jovial young man who joins the travellers is revealed as Hermes, a god who has come to safely guide the elderly men to Achilles. The power of the gods in controlling human fate is illustrated during the scene where Hermes saves the travellers from being swept away by a stream.

Nevertheless, it can also be argued that it is the characters’ decisions that lead them to their fate. Although the gods may have instilled in Priam the idea that he should rescue Hector, it is the king’s determination which is a main driving force for the journey. Even when confronted with doubt and hesitancy from his family, it is Priam who pushes onwards to fulfil his vision. Whether his actions were already predestined or of his own agency is up to you to decide.

Nature Versus Man

Man’s presence on earth is shown to have little significance in comparison to the power of nature. While the events in Ransom teach the characters many valuable lessons, ultimately these meaningful moments in the humans’ lives disappear as one reaches their fate – death. Time moves on beyond our lives as we are forgotten over decades and centuries while nature prevails. Priam’s desire to be remembered by others highlights how little significance a life possesses unless one behaves extraordinarily. Malouf demonstrates that in the end, life just is – we are granted by nature to have a brief existence, yet in the end, nature and time will move forward without us.

Commoners Versus Royalty

Although royalty is portrayed to be blessed with power and authority, it is ironically the commoners in Ransom who appear to have the ‘richest’ (and more fulfilling) lives. For the first time, Priam is exposed to the different interests and values of the common man and is intrigued by the simplicities of life. It is Somax, a mere old man from the marketplace, who teaches Priam more about life than he had imagined possible.

Jove’s Eagle

Jove’s eagle is a representation of a bird renowned for its keen sight. The presence of Jove’s eagle during Priam and Somax’s departure hints that the gods will safely guide their journey as the bird behaves as a lookout. Furthermore, the symbol of the eagle’s powerful vision is contrasted with Priam’s ‘blindness’ at the beginning of the journey since he is yet to experience the outside world. It is during the journey that he learns about himself and others, and thus, improves his ‘sight.’ Coincidently, Jove’s eagle is no longer mentioned when Priam is endowed with his new insight.

The royal cart is ‘a fine new one, the marks of the adze still visible on its timbers. The twelve-spoked wheels are elaborately carved and painted, a wickerwork canopy covers the tray'. On all occasions, the king had used this elegant cart to alert others that royalty was present. The use of this cart demonstrates how Priam has been encapsulated in his own royal sphere since everything is meticulously chosen and designed specifically for the king. Nevertheless, his demand for a ‘common work cart’ depicts his determination for a simple approach to Achilles, as a father to another father. This simplicity highlights Priam’s desire to become just another man and father, anonymous in the plain cart with the hopes of retrieving Hector.

Priam as a Child

At the beginning of the journey, Priam is characterised with childish traits. When Somax urges Priam to dabble his feet in the stream, words such as ‘obedient toddler', ‘three uncertain steps', and ‘happy smile’ reflect the actions of a young child trying new experiences. This childish nature is contrasted with Priam’s old and frail age, which demonstrates that although he has lived a life in royalty, his lack of exposure to ‘real life’ has left him crippled of the simplest experiences such as the cooling effect of feet in water and eating delicious homemade cookies.

The cakes Somax brings along during the journey highlight Priam’s lack of knowledge of even the simplest things. For Somax, the little griddlecakes are a regular and delectable snack, yet Priam 'ha[s] never seen them before'. Priam’s unfamiliarity with the cakes represents his isolation from the ‘real world’ since he has been deprived from things that even commoners view as ordinary.

Futhermore, Somax’s lengthy chatter about his daughter-in-law cooking the cakes with the ‘batter bubbling and setting and turning a golden brown’ prompts Priam to think about the activities in his kingdom that occur behind closed doors. He had previously never noticed that there was so much preparation and work that went into the food that appeared at his table, let alone the ingredients and thickness of a batter. These matters had been of little concern to Priam, yet he realises that even the ‘common and low…activities and facts of life, had an appeal'.

Hector’s Body

Although Achilles drags Hector’s body across the walls of Troy for eleven days, each morning he would return to find Hector’s body healed of any wounds, and absent of any physical damage to his body. This is a cruel reminder of the god’s ability to ‘toy around’ with the Ancient Greeks’ lives. Hector’s body also symbolises how revenge is not the answer to any conflict, since dealing with a tragic loss through revenge does not gain anything but more pain and suffering.

Although Priam initially believes he understands the distress of losing a son, Somax’s experience of losing his son is driven with emotions that Priam had never previously experienced. When sharing the story of his son’s death, Somax sniffles, an ‘odd habit’ according to Priam. The use of ‘odd habit’ to describe Somax’s sadness demonstrates how Priam has never truly felt the loss of his son, but only the loss of a royal relationship between king and prince.

Later on, Somax once again ‘snuffles’ and ‘rubs his nose’ at the thought of the ending to their journey. Similarly, Priam makes ‘small sounds', presumably crying as well. The transformation of Priam from someone who failed to empathise with Somax’s tears at the beginning of the journey to a man filled with emotions demonstrates that Priam undergoes both a physical and metaphysical journey where he undergoes self-development and appreciation of the world around him.

4. Plot, Analysis, Important Passages and Quotes

Achilles, the greatest warrior of the Greeks, stands next to the sea while reminiscing about the past. After his mother’s death he had ‘entered the rough world of men’ (p. 6) where wars and battles prevail. Every morning, he feels the need to ‘tramp to shore’ (p. 10) since he is haunted by the death of his ‘soulmate and companion’ Patroclus, and his raging hatred towards Hector, killer of Patroclus and thus, the ‘implacable enemy'.

When Achilles was a child, his cousin Patroclus came to live with the young Achilles since the former had killed the son of a high official of the royal court due to a ‘quarrel over a game of knucklebones’ (p. 11). In need of asylum, Patroclus came to live with Achilles’ family. As the years passed, the pair grew closer to the extent where Achilles believes that ‘he had mated with Patroclus’ (p. 15).

When the tide of the battle was against the Greeks, Patroclus disguises himself in Achilles’ armour in order to instill fear in the Trojans and cause them to return to the safety of their walls, thus providing temporary relief for the Greeks. In his last act for his closest friend, Patroclus is killed in battle*. The death of Patroclus left Achilles with an overwhelming sense of loss and also burning animosity. Achilles whispers that he will join Patroclus soon, but firstly, he has to avenge Patroclus’ killer, Hector.

Hector, the son of Trojan king Priam and leader of the Trojan army, wore Achilles' armour as a sign of triumph and disrespect for the Greeks. In a dramatic battle between Hector and himself, Achilles was successful in killing his enemy. Achilles’ Myrmidons then stripped Hector of his armour and ‘without pity…plunged their swords into Hector’s unprotected flesh’ (p. 24). For Achilles however, this was not enough. Still fuelled by his pain, Achilles ties Hector’s body to a chariot and drags it ‘up and down under the walls of Troy’ (p. 26) as the dead warrior’s royal family devastatingly watches on. Achilles feels like a ‘dead man…feeling nothing’ (p. 26), unable to seal the void left by his beloved friend.

The next day, Achilles is furious to find Hector’s body ‘smoothly sealed and the torn flesh made whole again'. His men cannot bear to look at him as he drives the chariot with Hector’s body along the walls of the Trojans once again. Afterwards he quickly falls asleep, into ‘oblivion’ (p. 35) as he struggles with the shame and guilt of his actions. He is ‘waiting for a break…something new and unimaginable’ in his life.

The Human Side

Along with the conflict between Greece and Troy, Ransom also delves into the consequences of those affected by the war. As the greatest warrior of all Greeks, Achilles has lived his life as a fighter. Nevertheless, his pathway in life has led him to believe that ‘such a life is death to the warrior spirit’ (p. 7). While warriors are known for sacrificing their lives in the battlefield, Achilles does not literally refer to warriors confronting death each time they fight for their team. In fact, ‘death to the warrior spirit’ means to metaphorically lose what it means to ‘live’ when one experiences bloodshed in each war. Growing up surrounded by ‘the rough world of men’ (p. 6), Achilles develops traits of aggression, cruelty and vengefulness in order to become an implacable man of war. As a consequence, Achilles only knows how to deal with Patroclus’ death with a fighter’s mindset. Instead of grieving openly, ‘he never permit[s] himself to betray to others what he [feels]’ (p. 5), thus detaching himself from the natural human process of grieving. In order to deal with his friend’s tragic ending, Achilles' ‘soul chang[es] colour’ as drags Hector’s body for eleven days without any sense of regret or remorse, and thus, is referred to as ‘death to his human spirit’ since he was no longer ‘a living man’ (p. 27). He faces Patroclus’ death with the same warrior traits of aggression, cruelty and vengefulness, depriving himself of any ability to humanely mourn his close friend’s death.

Furthermore, Achilles grieves for his mother in the opening passages of Ransom . During this time of loss, his mother symbolises Achilles’ need to be nurtured. The imagery of the sea surface as a ‘belly’ and ‘a membrane stretched to a fine transparency’ (p. 3) represents his mother’s pregnancy where he ‘had hung curled in a dream of pre-existence’ for ‘nine changes of the moon’ – or in other words, nine months of pregnancy. Achilles is characterised as a foetus, for his position is ‘chin down, shoulders hunched’ as though he is inside a womb. Although Achilles is a fighter, he hides the fact that he wishes to be ‘rocked and comforted’ by his mother, thus demonstrating that even beneath the surface of a cold-hearted warrior, the current of human emotions can cripple a man’s confident veneer.

If you'd like to read more of my analysis, feel free to access a sample of our ebook A Killer Text Guide: Ransom . In this ebook, I cover Plot, Analysis, Important Passages and Quotes so you can prepare for your SAC and exam. I've also included 5 Sample A+ English essays on Ransom , complete with annotations so you know exactly what you need to do in your next essay to achieve an A+.

All the best for your studies in Ransom!

Video Transcription

Introduction to animal farm:.

- Written in 1945 by George Orwell, Animal Farm is an allegorical novella about the 1917 Russian Revolution and the repressive Stalinist period which followed.

- As a democratic socialist, Orwell was an adamant critic of Joseph Stalin and his totalitarian dictatorship over Russia.  

- Thus, Orwell wrote Animal Farm as a satirical fable against Stalin’s tyrannical control, stating that he wrote it with the intention of ‘fusing political purpose and artistic purpose into one whole’.

- The novella is set in Manor Farm, located in Willingdon, England at an undisclosed time.

- As the events of Animal Farm symbolise the power struggle of early 20th century Russia, this ambiguity of time is intended to prevent Orwell’s warning against repressive tyranny from becoming dated.

- Orwell’s use of a farm as the main setting is also notable, as farms represent nations in Animal Farm ; both require a vast amount of work in order to function properly. Thus, the act of the animals cooperating to cast the humans out of the farm symbolises a workers’ revolution against their oppressive leadership.

Main Character Analysis:

Napoleon (pig):

- Based on Soviet dictator Joseph Stalin, he emerges as the leader of the Farm after the Rebellion.

- He consolidates his control over the farm with the violent force of his nine attack dogs, having raised them as puppies; these directly symbolise Stalin’s military force.

- He never contributes to other animals’ efforts at revolution, as he is only a corrupt individual who seeks to take advantage of opportunities created for him by others.

Snowball (pig):

- Based on Soviet rebel Leon Trotsky, he challenges Napoleon for control of the Farm after he takes control of the leadership.

- Similar to the leader he is modelled after, Snowball is eloquent, charismatic, intelligent and persuasive - thus, he wins the loyalty and support of other animals easily.

Boxer (cart-horse):

- Extremely devoted to the farm and the Rebellion, Boxer symbolises what Orwell believed to be the best qualities of the proletariat, or the exploited working class, such as loyalty, strength, camaraderie and hard work, perceivable by his personal motto of ‘I will work harder’.

- However, he simultaneously suffers from typical weakness of the working class, such as a naive trust in the intelligentsia and a slow-witted oblivion to political corruption, represented by his other motto of ‘Napoleon is always right’.

Squealer (pig):

- Manipulative and highly persuasive, he spreads Napoleon’s propaganda throughout the farm to intimidate uneducated animals into supporting Napoleon’s ideas and policies.

- Orwell uses the character of Squealer to warn against politicians’ deliberate manipulation of mass media in order to gain social and political control.

Old Major (boar):

- Based on the socialist revolutionary Karl Marx, as well as Russian revolutionary leader Vladimir Lenin, Old Major’s dream of a socialist utopia acts as a major motive for the Rebellion.

- Major’s death creates a political vacuum in the farm, leaving Napoleon and Snowball in a power struggle for control of his followers.

Themes and Motifs:

- By allegorising in Napoleon dictator Joseph Stalin, Animal Farm is first and foremost a satirical critique of politicians’ tyrannical misuse of power.

- This is epitomised by the deceitful methods Napoleon uses to gain support, such as lying to the other animals that Snowball is a political traitor in order to banish him from the Farm.

Naive Proletariat:

- Animal Farm explores the need for the working class to be educated, as the inability of the farm animals to question Napoleon’s authority directly leads to the perpetuation of his oppression.

- Thus, Orwell presents to his readership that the working class may suffer not only due to dictators’ abuse of power, but also from their own naive unwillingness to question the intentions of the authority.

False Allegiance:

- Orwell accurately exhibits treacherous aspects of the human condition in his portrayal of dramatised relationships between humans and animals.

- Just as the pig rulers of the rebellion eventually betray their own idealistic visions, the theme of alliance is shattered between Frederick and Napoleon when the latter learns that the former has been forging banknotes while buying firewood from him.

- Thus, Animal Farm depicts the idea that alliances formed in a tyrannical dictatorship are merely veneers of camaraderie, which hide each person’s capability to destroy others in their path towards control.

Analysis of Quotes:

‘Four legs good, two legs bad.’

- From Chapter 3, this slogan is based off of Old Major’s speech before his death about the need for animals to unite in the face of human oppression and tyranny.

- The quote is a noteworthy example of propaganda in Animal Farm, as the leaders utilise language in order to essentially brainwash the working class animals.

- Although it initially helps the animals to remember their goals, the phrase later loses its meaning of solidarity as it becomes a nonsensical noise made by sheep when used to drown out the voices of challengers to the regime.

‘All animals are equal, but some animals are more equal than others.’

- This quote exemplifies the pigs’ abuse of logic and language to keep their power over their followers.

- The evidently senseless and illogical meaning behind this phrase is an example of the methods that the leader of the Farm takes in order to brainwash his followers.

- The quote also suggests that the pigs’ real intention to create an animal utopia is not, in fact, to rise up against the oppression of the humans, but to become part of the elite; the ‘some’ that possess greater rights and power than the rest of the underprivileged society.

5 Types of Essay Prompts

Your approach to each essay will depend on what type of prompt is being asked. Be aware that not all essay prompts are the same, which means that sometimes your preferred essay structure simply won’t suit the type of prompt asked. That's why it's important to be aware of the 5 types of essay topics – what you should watch out for and how you could approach your essay writing. The topics used in this blog post have been curated by Lisa's Study Guides.

1. Theme-based prompts :

Animal Farm is first and foremost a satirical critique of politicians’ tyrannical misuse of power.

Usually your paragraphs will be based around particular themes. For example in this case, paragraphs may be based on ‘love’, ‘escape’, ‘horrors of war’ etc. These paragraphs can have character discussions embedded within them in order to demonstrate how the characters represent each theme. Discussion of the author’s choice of language such as symbols or imagery can be essential to the analysis of a theme.

2. Character-based prompts :

Boxer is the only animal with redeeming qualities. Do you agree?

These prompts focus on one or more characters. In this case, you can structure your essay paragraphs based on particular characters or something in common with a set of characters. Essays can become quite repetitive if each paragraph is based around one character so try to add in discussion about themes or the character’s relationships with other characters. Remember that minor characters can be just as important as major characters.

3. How-based prompts : 

How does Napoleon exert control over the farm?

These prompts are usually structured, ‘how does the character do this,’ or 'how does the author do this'. In this case, since the prompt is focused on one main character, try to weave in the main character’s interactions with other characters and how other characters influenced them.

4. Metalanguage-based prompts :

The language in Animal Farm is crucial to Orwell's storytelling.

These types of prompts are the rarest of the 5 prompts but don’t be surprised if you’re asked one. They focus more on the  language  part of the text; rather than the plot, themes or characters. Your discussion will revolve around the author’s use of language (metaphors, prose, syntax etc.). These discussions are typically viewed as ‘harder’ prompts because you need to think about how the author achieves a particular message about character or theme through their choice of words. Check out our blog post on  metalanguage  and what you need to look out for.

Extra helpful resource by the BBC: Form, structure and language in Animal Farm .

5. Quote prompts :

'All animals are equal, but some animals are more equal than others.’ How is this true in Animal Farm?

These prompts can be character- or theme-based. However, it differs from other essay topics because it includes a direct quote from the text. Remember that the quote is part of the prompt, so ensure that you address it. One of the best ways of doing so is to incorporate the quote into the essay itself.

When faced with unknown prompts in a SAC or your exam, it's reassuring to have a formulaic breakdown of the prompt so that your brain immediately starts categorising the prompt - which of the 5 types of prompts does this one in front of me fall into?

To learn more, I discuss this and offer you practical strategies (so you never mind-blank again!) in my ebook, How To Write A Killer Text Response . Feel free to check it out, and good luck!

Get exclusive weekly advice from Lisa, only available via email.

Power-up your learning with free essay topics, downloadable word banks, and updates on the latest VCE strategies.

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How Does The Song Relate To The Great Gatsby

How Does The Song Relate To The Emotions of the Listener

Music has a profound impact on our emotions, often serving as a powerful medium through which we can express and process our feelings. When examining how a song relates to the emotions of the listener, it is essential to consider the various elements that contribute to this connection. One key aspect is the lyrics of the song. Lyrics have the ability to convey specific emotions, experiences, and stories that listeners can relate to on a personal level. Whether it's a song about love, heartbreak, joy, or sadness, the words sung by the artist can evoke a range of emotions in the listener, resonating with their own inner experiences.

In addition to lyrics, the melody and rhythm of a song play a crucial role in shaping the emotional response of the listener. The tempo, key, and overall musical arrangement can influence how a listener feels while listening to a song. For example, an upbeat and fast-paced song may evoke feelings of excitement and energy, while a slow and melancholic melody could evoke a sense of introspection and sadness. The interplay between the musical elements and the emotional content of the lyrics creates a multi-dimensional experience for the listener, allowing them to connect with the song on a deeper level.

Furthermore, the personal experiences and memories of the listener can also impact how they relate to a song emotionally. A particular song may evoke memories of a significant event, person, or period in one's life, triggering a cascade of emotions tied to that specific moment. This emotional association can intensify the listener's connection to the song, making it a poignant and meaningful experience. The ability of music to transport us back in time and evoke powerful emotions is a testament to its profound impact on our emotional well-being.

In conclusion, the relationship between a song and the emotions of the listener is a complex and intricate one, influenced by a combination of factors including lyrics, melody, rhythm, and personal experiences. Music has the unique ability to evoke a wide range of emotions, serving as a source of comfort, catharsis, and joy for listeners around the world. By understanding how these elements come together to create a deeply emotional experience, we can appreciate the transformative power of music in our lives.

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The Lying Jay Gatsby of The Great Gatsby Essay

In F. Scott Fitzgerald's "The Great Gatsby," the enigmatic protagonist, Jay Gatsby, emerges as a character shrouded in mystery and intrigue. Throughout the novel, Gatsby is depicted as a man of wealth and status, hosting lavish parties at his opulent mansion, yet concealing his true identity and past. One of the central themes of the novel revolves around Gatsby's propensity for deception, as he fabricates his persona and manipulates those around him to achieve his ultimate goal: winning back the love of his life, Daisy Buchanan. From the outset, Gatsby's lies are woven into the fabric of his existence, as he adopts a false identity to escape his humble origins. Born James Gatz, he reinvents himself as Jay Gatsby, a self-made millionaire with a mysterious past. Gatsby's elaborate façade is carefully constructed to impress Daisy and gain entry into her privileged world. However, beneath the veneer of wealth and sophistication lies a man haunted by his past and consumed by his desire for the unattainable Daisy. Gatsby's penchant for deception is most evident in his romantic pursuit of Daisy. Despite knowing that she is married to Tom Buchanan, Gatsby orchestrates elaborate schemes to win her affection, including throwing extravagant parties in the hopes of capturing her attention. His obsession with Daisy blinds him to the consequences of his actions, leading him to manipulate both her and those around her in his quest for love. Throughout the novel, Gatsby's lies unravel as the truth about his past is gradually revealed. Despite his wealth and social standing, Gatsby remains an outsider in the world of East Egg, forever longing to belong. His tragic downfall serves as a cautionary tale about the destructive power of deception and the futility of chasing after an idealized version of the past. In conclusion, Jay Gatsby emerges as a complex and enigmatic character in "The Great Gatsby," whose life is defined by a web of lies and deception. His relentless pursuit of Daisy and his willingness to manipulate those around him underscore the novel's exploration of the American Dream and the corrupting influence of wealth and privilege. Gatsby's ultimate fate serves as a sobering reminder of the dangers of living a life built on lies and illusions....

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When Was The Great Gatsby Really Great

F. Scott Fitzgerald's novel "The Great Gatsby" has been regarded as a classic of American literature, exploring themes of wealth, love, and the American Dream. However, the question of when the novel was truly great is open to interpretation. Some argue that the greatness of "The Great Gatsby" lies in its timeless themes and beautiful prose, while others believe that its true greatness was only recognized years after its initial publication. One could argue that "The Great Gatsby" was truly great from the moment it was published in 1925. Despite receiving mixed reviews upon its release, the novel has since been praised for its vivid portrayal of the Jazz Age and its critique of the American Dream. Fitzgerald's writing style, characterized by its lyrical beauty and keen observations, has also contributed to the novel's lasting impact. On the other hand, some believe that the true greatness of "The Great Gatsby" was not fully realized until later years. In the decades following its publication, the novel gained a cult following and was reevaluated by critics, who praised its depth and complexity. The novel's themes of love, loss, and the corrupting influence of wealth resonated with readers in new ways, solidifying its place as a masterpiece of American literature. In conclusion, the question of when "The Great Gatsby" was truly great is a subjective one. Whether it was upon its initial publication or in the years that followed, there is no denying the lasting impact and significance of Fitzgerald's novel. Its exploration of the American Dream and its timeless themes continue to captivate readers, cementing its place as one of the greatest novels of the 20th century....

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Jay Gatsby of The Great Gatsby Essay

Jay Gatsby, the enigmatic protagonist of F. Scott Fitzgerald's iconic novel, The Great Gatsby, is a character that has captivated readers for generations. Through his extravagant lifestyle, his pursuit of the American Dream, and his elusive nature, Gatsby represents the epitome of the Jazz Age and the allure of wealth and success. In this essay, we will explore the complexities of Jay Gatsby's character and his role in the novel. Gatsby, originally born James Gatz, reinvents himself as Jay Gatsby in order to escape his humble beginnings and create a new identity. He is driven by an unwavering desire to achieve material wealth, which he believes will win him the love of his life, Daisy Buchanan. Gatsby's opulent mansion, extravagant parties, and flashy persona are all carefully constructed facades to impress those around him and gain acceptance into the elite social circles of East Egg. However, beneath Gatsby's façade lies a man consumed by a deep longing for something unattainable. Despite his immense wealth and social status, he cannot escape the past. Gatsby's obsession with Daisy, whom he had a brief romantic affair with years ago, becomes the driving force behind his actions. His relentless pursuit of Daisy ultimately leads to his downfall, as he becomes entangled in a web of lies, deceit, and tragedy. Gatsby's character is defined by his relentless optimism and his unwavering belief in the power of dreams. He sees himself as a self-made man who can overcome any obstacle in his path. This optimism is symbolized by the green light at the end of Daisy's dock, which represents Gatsby's hopes and dreams for a future with her. However, this dream is ultimately shattered, as Gatsby's idealized version of Daisy clashes with the reality of who she truly is. Fitzgerald's portrayal of Gatsby serves as a critique of the society in which he lived. Gatsby's lavish parties and extravagant lifestyle are a reflection of the excesses and moral decadence of the Roaring Twenties. Despite his wealth and success, Gatsby is unable to find true happiness or fulfillment. His tragic fate serves as a cautionary tale about the emptiness of materialism and the fleeting nature of the American Dream. In conclusion, Jay Gatsby is a complex and multi-dimensional character who embodies the hopes and dreams of an era. His pursuit of wealth, his obsession with Daisy, and his ultimate downfall all contribute to the tragic narrative of The Great Gatsby. Through Gatsby's story, Fitzgerald explores themes of love, wealth, and the corruption of the American Dream. Gatsby's character serves as a reminder that true happiness cannot be found in material possessions, but rather in the pursuit of genuine human connection and self-discovery....

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Gatsby's Dream and Daisy's Conflicts in The Great Gatsby by F. Scott Fitzgerald

In F. Scott Fitzgerald's novel, "The Great Gatsby," the characters of Jay Gatsby and Daisy Buchanan are central to the story's themes of love, wealth, and the American Dream. Gatsby's dream of rekindling his romance with Daisy after years apart is a driving force in the novel, while Daisy's conflicts with her own desires and societal expectations add depth to her character. Gatsby's dream of being reunited with Daisy stems from their past relationship, which was interrupted by World War I. Despite the passage of time and Daisy's marriage to Tom Buchanan, Gatsby remains fixated on the idea of winning her back. His extravagant parties and lavish lifestyle are all part of his grand plan to impress Daisy and show her that he is worthy of her love. Gatsby's dream represents the idea of the American Dream, where hard work and determination can lead to success and happiness. On the other hand, Daisy is torn between her feelings for Gatsby and her responsibilities as a wife and mother. She is attracted to Gatsby's wealth and charm, but she is also aware of the consequences of leaving her husband and disrupting her comfortable life. Daisy's conflicts highlight the societal pressures placed on women during the 1920s, where they were expected to prioritize their families and social status over their own desires. Despite her love for Gatsby, Daisy ultimately chooses to stay with Tom, leading to tragic consequences for all involved. In conclusion, Gatsby's dream of reuniting with Daisy and Daisy's conflicts with her own desires and societal expectations are central to the themes of love and the American Dream in "The Great Gatsby." The characters' struggles and choices reflect the complexities of human relationships and the pursuit of happiness in a society obsessed with wealth and status. Fitzgerald's novel continues to resonate with readers today, as it explores timeless themes of love, ambition, and the elusive nature of the American Dream....

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Symbolism of Gatsby's Estate in 'The Great Gatsby'

Symbolism of Gatsby's Estate in The Great Gatsby In F. Scott Fitzgerald's renowned novel, The Great Gatsby, the opulent estate owned by the enigmatic Jay Gatsby serves as a powerful symbol that reflects the themes of wealth, illusion, and the pursuit of the American Dream. Situated in West Egg, Long Island, Gatsby's extravagant mansion becomes a focal point for the characters and a metaphorical representation of their aspirations and desires. First and foremost, Gatsby's estate symbolizes the allure and corrupting influence of wealth. With its sprawling lawns, grand architecture, and lavish parties, the mansion is a testament to Gatsby's immense fortune. The extravagant displays of wealth, such as the opulent parties, the luxurious cars, and the extravagant clothing, create an aura of allure and enchantment. However, beneath the surface, the mansion represents the dark side of wealth, as it is built on illegal activities and a quest for material possessions. This symbolizes the hollowness and moral decay that can accompany the pursuit of wealth. Furthermore, Gatsby's estate symbolizes the illusion of the American Dream. Gatsby himself is a self-made man who has risen from humble beginnings to become fabulously wealthy. His mansion, with its grandeur and ostentation, represents the illusion that anyone can achieve success and happiness through hard work and determination. However, as the story unfolds, it becomes clear that Gatsby's wealth is not enough to bring him the happiness he seeks. The mansion, with its empty rooms and unfulfilled dreams, serves as a reminder that the American Dream is often elusive and unattainable. Moreover, Gatsby's estate symbolizes the stark divide between the old and the new money in American society. Located in West Egg, the less prestigious area of Long Island, Gatsby's mansion stands in stark contrast to the more refined and established estates of East Egg. This juxtaposition highlights the distinction between those who have inherited their wealth and those who have acquired it through their own endeavors. The mansion becomes a symbol of Gatsby's desire to bridge this gap and gain acceptance into the upper echelons of society. In conclusion, Gatsby's estate in The Great Gatsby serves as a powerful symbol that represents the themes of wealth, illusion, and the pursuit of the American Dream. It symbolizes the allure and corrupting influence of wealth, the illusion of the American Dream, and the divide between old and new money. Through its vivid portrayal of Gatsby's opulent mansion, Fitzgerald invites readers to reflect on the complexities of wealth and the price one pays for the pursuit of material success....

Essay Jay Gatsby: The Tragic Hero in The Great Gatsby

In F. Scott Fitzgerald's novel, The Great Gatsby, Jay Gatsby is portrayed as a tragic hero. Despite his wealth and lavish parties, Gatsby is ultimately a man driven by his unrequited love for Daisy Buchanan. His tragic flaw lies in his inability to let go of the past and move on from his idealized version of Daisy. This flaw ultimately leads to his downfall, making him a classic example of a tragic hero. Gatsby's tragic flaw is evident in his relentless pursuit of Daisy. He is willing to do anything to win her back, even if it means sacrificing his own happiness. Gatsby's obsession with Daisy blinds him to the reality of their relationship, leading him to believe that he can recreate the past and make Daisy love him again. This delusion ultimately leads to his demise, as he is unable to accept that Daisy has moved on and will never leave her husband for him. Despite his flaws, Gatsby possesses qualities that make him a sympathetic character. He is a self-made man who rose from poverty to wealth through hard work and determination. Gatsby's ability to reinvent himself and create a new identity for the sole purpose of winning Daisy's love is both admirable and tragic. His tragic end is a result of his inability to reconcile his past with his present, leading to his ultimate downfall. In conclusion, Jay Gatsby is a tragic hero in The Great Gatsby. His tragic flaw, his inability to let go of the past and move on from his idealized version of Daisy, ultimately leads to his downfall. Despite his flaws, Gatsby is a sympathetic character who is driven by his unrequited love for Daisy. His tragic end serves as a cautionary tale about the dangers of living in the past and the consequences of being unable to accept reality. Jay Gatsby will forever be remembered as a tragic hero whose pursuit of the American Dream ultimately led to his tragic demise....

Nick's Evolving Perceptions of Gatsby in Fitzgerald's The Great Gatsby

F. Scott Fitzgerald's "The Great Gatsby" stands as a seminal work of American literature, celebrated for its exploration of the American Dream, societal decadence, and the elusive nature of identity. Central to the narrative is the character of Jay Gatsby, whose enigmatic persona is viewed through the lens of the narrator, Nick Carraway. Throughout the novel, Nick's perceptions of Gatsby undergo a profound evolution, mirroring the complexities of human relationships and the shifting sands of moral judgment. Initially, Nick's impression of Gatsby is shrouded in admiration and intrigue. As the story unfolds, Gatsby emerges as a figure of mythic proportions, embodying the aspirational spirit of the Jazz Age. Nick is captivated by Gatsby's charisma, wealth, and seemingly boundless optimism, viewing him as a symbol of hope and possibility in a world rife with disillusionment and moral decay. Fitzgerald employs vivid imagery and lyrical prose to convey the allure of Gatsby's lavish parties and the magnetic pull of his enigmatic persona, drawing readers into Nick's spellbound fascination with his mysterious neighbor. However, as Nick becomes increasingly entangled in Gatsby's tumultuous world, cracks begin to appear in the facade of glamour and intrigue. Through Nick's observant gaze, readers are afforded glimpses of Gatsby's darker motivations and questionable ethics. Despite his outward charm, Gatsby is revealed to be a flawed and morally ambiguous character, driven by a singular obsession with recapturing the past and winning back the love of Daisy Buchanan. Nick's growing disillusionment with Gatsby reflects a broader critique of the empty materialism and moral bankruptcy that pervade Gatsby's world, culminating in the novel's tragic denouement. Yet, even as Nick grapples with the disillusionment of his initial admiration, he is ultimately compelled to reconcile his conflicting perceptions of Gatsby. In the aftermath of Gatsby's demise, Nick reflects on the complexities of human nature and the impossibility of fully comprehending the enigma of Gatsby's character. Despite his flaws and contradictions, Gatsby eludes easy categorization, remaining a symbol of both aspiration and folly, innocence and corruption. Through Nick's introspective narration, Fitzgerald invites readers to confront the ambiguity of human morality and the elusive nature of truth, challenging them to reconsider their own perceptions of right and wrong. In conclusion, F. Scott Fitzgerald's "The Great Gatsby" offers a nuanced exploration of the complexities of human nature and the shifting sands of moral judgment. Through the character of Nick Carraway, readers are invited to accompany him on a journey of self-discovery and moral reckoning, as his perceptions of Jay Gatsby evolve from admiration to disillusionment and ultimately, to a nuanced understanding of the complexities of the human condition. In capturing the essence of Gatsby's enigmatic persona, Fitzgerald crafts a timeless meditation on the elusive nature of identity, the allure of the American Dream, and the enduring power of hope in the face of adversity....

Character Analysis of Jay Gatsby in The Great Gatsby, by F. Scott Fitzgerald

Character Analysis of Jay Gatsby in "The Great Gatsby" Jay Gatsby, the enigmatic protagonist of F. Scott Fitzgerald's "The Great Gatsby," is a character shrouded in mystery and contradiction. From his lavish parties to his elusive past, Gatsby embodies the American Dream while simultaneously representing its downfall. Throughout the novel, Fitzgerald carefully crafts Gatsby's character, revealing layers of complexity that invite readers to ponder the true essence of this iconic figure. One of the defining traits of Jay Gatsby is his relentless pursuit of wealth and status. Born into a humble background, Gatsby transforms himself into a self-made millionaire, acquiring a vast fortune through dubious means. His opulent mansion, extravagant parties, and flashy attire serve as symbols of his success and ambition. However, beneath the facade of prosperity lies a deep-seated yearning for something more elusive: the love of Daisy Buchanan. Gatsby's obsession with Daisy drives much of the novel's plot, shaping his actions and motivations. His relentless pursuit of her, despite her marriage to Tom Buchanan, underscores his unwavering devotion and idealized perception of love. Gatsby's longing for Daisy represents not only a desire for romantic fulfillment but also a quest for validation and acceptance within the upper echelons of society. His fixation on the past and inability to move on from his idealized vision of Daisy ultimately lead to his tragic demise. Despite his flaws and questionable methods, Gatsby possesses a certain charisma and charm that captivates those around him. His mysterious demeanor and aura of sophistication make him a magnetic presence, drawing people into his orbit. However, beneath the surface charm lies a sense of loneliness and isolation, as Gatsby grapples with the emptiness of his hollow existence. His inability to form genuine connections with others, beyond superficial social interactions, highlights the inherent loneliness of the American Dream. In conclusion, Jay Gatsby emerges as a complex and multifaceted character in "The Great Gatsby," embodying both the allure and disillusionment of the American Dream. His relentless pursuit of wealth and love, coupled with his enigmatic persona, makes him a compelling figure whose legacy continues to resonate with readers today. Through Gatsby, Fitzgerald offers a poignant commentary on the nature of ambition, identity, and the elusive pursuit of happiness in the Roaring Twenties and beyond....

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I was battling cancer while starring on Broadway and no one knew

I knew I wanted to be on Broadway since age 6, when I saw my first musical. Growing up, that goal informed almost every decision I made: the kind of music I listened to, the books I read, and even where I went to college. After graduating, I moved to New York City to pursue this dream.

That same year I tested positive for the BRCA1 gene . The BRCA1 mutation means you have a 50% chance of developing breast cancer by age 70, and also a higher risk of other cancers, like ovarian cancer , according to the Centers for Disease Control and Prevention . I got tested because my mother had recently survived her second battle with breast cancer, and my grandmother and her sister both died of ovarian cancer. When the results came back positive, I was disappointed and sad, but I adapted my lifestyle accordingly. I got screened regularly. I started exercising, and changed my diet to limit my risk. Genetically, I couldn’t do much. Epigenetically, I did everything in my power to prevent the gene from presenting itself. 

Meanwhile, I worked. Eventually I made my Broadway debut at the age of 29. It was short-lived, but then I got a role on “The Unbreakable Kimmy Schmidt” on Netflix, where I remained for the next seven years. All the while, I was maintaining the healthy habits I’d established in the wake of testing positive for the BRCA1 gene, with one exception: My doctors had started advising me, as I got older, to remove my fallopian tubes, but I always came up with excuses to put the surgery off. 

When “Kimmy” was over, I realized just how much I missed the stage. As luck would have it I was soon asked to join the cast of a new musical adaptation of “The Great Gatsby” on Broadway as Myrtle Wilson. For those who haven’t read the book in a while (or ever, as was my case, though I still somehow managed to graduate high school), Myrtle is married to the poor gas station owner and dreams of a better life with Tom Buchanan. In the musical, Myrtle gets a big, splashy, musical comedy number in Act 1 and a gut-wrenching 11 o’clock ballad in Act 2. It was every Broadway fantasy I had ever dreamed of. The show was already getting a lot of attention and it hadn’t even opened.

But a month or so before rehearsals began, my doctors again recommended I go through with removing my fallopian tubes. With Broadway rehearsals starting soon, and a grueling show schedule ahead of me, I decided to just go for it.  I had the procedure 10 days before rehearsals started. Now, I thought, I could put it out of my head.

Two weeks later, I was at home practicing my lines when the phone rang. It was my doctor. They had found cancer in one of my fallopian tubes. Thankfully, it was caught early, but the standard of care was an immediate full hysterectomy, oophorectomy, and six rounds of chemotherapy every three weeks. I couldn’t believe what he was telling me. After I could compose myself, I nervously asked, “Can I still do ‘Gatsby’?”

We got out our calendars. “Gatsby” was to rehearse for two more weeks before a four-week “previews” period — a grueling process where the cast rehearses changes to the show by day and performs them for an audience that evening. Then, the big opening night. I knew I had three days off soon, so I arranged to have the surgery then, and if the pathology reports came back clean, the doctors could let me delay starting chemo until after opening night.

I went into rehearsal and didn’t tell anyone. Mostly because I was in denial. If I said it out loud, it would be true. That I have cancer. That I am rehearsing a Broadway show while being treated for cancer. Or maybe I thought someone would try and take my dream away from me.

I went into rehearsal the next morning and didn’t tell anyone. Mostly because I was in denial. If I said it out loud, it would be true. That I have cancer. That I am rehearsing a Broadway show while being treated for cancer. Or maybe I thought someone would try and take my dream away from me. Or people might treat me differently. Best to keep it to myself until absolutely necessary, I thought. Besides, the stress of creating a new Broadway show was already so palpable in the room.

I found myself living a secret double life. In the early mornings I would meet with doctors, get blood work done and then run down the street to Broadway rehearsals, stashing my hospital bracelets along the way. Two weeks after my diagnoses, I secretly got a full hysterectomy, oophorectomy and cervix removal. Four days after that, I was on stage singing and dancing in full costumes and wigs like nothing had happened. (For the record, I do not recommend this.) I hid my scars with compression garments underneath my costumes, and I hid my pain too.

As an actor opening a new Broadway show, my job was to do things like learn a whole new set of lyrics a few hours before being expected to perform them flawlessly in front of a sold-out audience. As a secret cancer patient, I had to experience one of my first hot flashes alone on stage while 1,400 people watched. I would never know if the sensations I was feeling were just nerves, a side effect of a new medication, or both. I never knew if I was crying on stage because that’s what my character would do or because I was sad knowing I would lose my eyelashes and eyebrows soon.

Thankfully, two weeks into previews, the doctors called to say the pathology reports came back clean and I could perform on opening night. I was absolutely elated. Still, as my cast and crew looked for opening night outfits, I secretly looked for wigs and scarves in case I needed them. As people were telling their friends and family about this new Broadway show they were in, I was telling friends and family about what to expect in the next coming months. My colleagues met with stylists; I met with oncologists.

Opening night finally arrived. Minutes before the show was about to start, I finally found a moment to be by myself in my dressing room. I started to sob uncontrollably. I had been so focused on getting to this night, I don’t think I had ever fully allowed myself to acknowledge all I had been going through. But the show must go on. So I pulled myself together, put my costume on, circled up with my cast backstage for our pre-show ritual, and the curtains opened.

I walked to center stage at the end of Act 2 to sing my big solo. I was alone singing on a Broadway stage, just like I had always dreamed about. I’ve heard the journey of cancer described as incredibly lonely, and I’ve found that to be true. No matter how many people I have in my corner (and I have so many wonderful people), no matter how many people applaud for me or greet me at the stage door, no matter how many incredible cast members and crew surround me, this was ultimately something I had to do by myself.

And as I stood by myself on stage, just a spotlight on me and my secret hiding in plain sight, whatever I was feeling earlier melted away and was replaced with pride.

The next week, I told my cast the truth. In the months to come, I relied heavily on understudies until I took a leave of absence to finish out treatments. Drugs have thankfully come a long way in the past 10 years, and, while my experience wasn’t fun, it was not even close to what the women in my family had to go through. I even got to keep 50% of my hair.

I’m also comforted by the fact that soon I’ll be back on stage. And this time, I know I’ll be even stronger.

Sara Chase is a Broadway actor living in New York City. She is best known for playing Cyndee Pokorny on Tina Fey’s Emmy-nominated hit Netflix series, "Unbreakable Kimmy Schmidt," and "Unbreakable Kimmy Schmidt: The Interactive Special." Follow her on Instagram @sarachase_.

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50 American Classics: The Call of the Wild, The Great Gatsby, Sister Carrie, The House of Mirth, The Adventures of Huckleberry Finn Kindle Edition

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• Publisher ‏ : ‎ e-artnow (July 31, 2024)
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Broadway’s Sara Chase Says She Started to 'Sob Uncontrollably' Reflecting on 'Lonely, Secret' Cancer Journey

The 'Great Gatsby' star was diagnosed with fallopian tube cancer and kept her health journey a secret while on Broadway

Steve Zak Photography/FilmMagic

Sara Chase is detailing the “double life” she lived while dealing with cancer.

The Broadway performer had just landed her dream role as Myrtle in the musical adaptation of The Great Gatsby when she decided to have her fallopian tubes removed. The 41-year-old underwent the preventative surgery after previously testing positive for the BRCA1 gene mutation , which means she was more likely to develop cancer. 

However, two weeks after starting to rehearse for the show, Chase received a call from her doctor and was told they found cancer in one of her fallopian tubes.

“Thankfully, it was caught early, but the standard of care was an immediate full hysterectomy, oophorectomy, and six rounds of chemotherapy every three weeks,” she wrote in a personal essay for TODAY . “I couldn’t believe what he was telling me.” 

“I went into rehearsal the next morning and didn’t tell anyone. Mostly because I was in denial,” she said. “If I said it out loud, it would be true. That I have cancer. That I am rehearsing a Broadway show while being treated for cancer. Or maybe I thought someone would try and take my dream away from me. Or people might treat me differently. Best to keep it to myself until absolutely necessary, I thought.” 

Dia Dipasupil/Getty

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Chase said she found herself living a “secret double life” while undergoing treatment. She would meet with her doctors early in the morning, get blood work done and then stash her hospital bracelets before heading to her Broadway rehearsals.

“Two weeks after my diagnosis, I secretly got a full hysterectomy, oophorectomy and cervix removal,” she wrote. “Four days after that, I was on stage singing and dancing in full costumes and wigs like nothing had happened. (For the record, I do not recommend this.) I hid my scars with compression garments underneath my costumes, and I hid my pain too.”

The actress recalled experiencing a lot of the side effects of her treatment alone while at work, having to pretend as if everything was okay.

“As people were telling their friends and family about this new Broadway show they were in, I was telling friends and family about what to expect in the next coming months. My colleagues met with stylists; I met with oncologists,” she said.

Matthew Murphy

The PEOPLE Puzzler crossword is here! How quickly can you solve it? Play now !

By the time opening night came for The Great Gatsby , Chase said she stood in her dressing room and “started to sob uncontrollably.” With the grueling treatment and rehearsal schedule, she hadn’t been able to sit and fully acknowledge what she’d been through.

“I’ve heard the journey of cancer described as incredibly lonely, and I’ve found that to be true,” she admitted. “No matter how many people I have in my corner (and I have so many wonderful people), no matter how many people applaud for me or greet me at the stage door, no matter how many incredible cast members and crew surround me, this was ultimately something I had to do by myself.”

She continued, “And as I stood by myself on stage, just a spotlight on me and my secret hiding in plain sight, whatever I was feeling earlier melted away and was replaced with pride.”

The following week, Chase said she told her cast the truth about her health. She ultimately took a leave of absence and relied on understudies in order to finish treatment.

Chase wrote that she’s “comforted by the fact that soon I’ll be back on stage.” 

“And this time, I know I’ll be even stronger,” she said.

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The Spinoff

Society Yesterday at 5.00am

The spinoff essay: remembering norman kirk, new zealand’s great internationalist.

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Fifty years ago today, prime minister Norman Kirk died unexpectedly. Anti-apartheid activist Trevor Richards considers his legacy.

The Spinoff Essay  showcases the best essayists in Aotearoa, on topics big and small. Made possible by the generous support of our members.

S aturday, 31 August 1974. I had been out at a party in Wellington. Returning home, I switched on the radio to catch the midnight news. The lead item was one of those “where were you when…” moments. It was news that probably no one in the country was expecting: Norman Kirk, elected prime minister in the November 1972 Labour landslide, was dead. He was 51. He had been in power for less than two years.

In the days that followed, people flocked to parliament to pay their respects. More than 30,000 filed past his casket. Queen Elizabeth sent Prince Charles to New Zealand to represent her at the funeral. According to The Dictionary of New Zealand Biography, the outpouring of grief was paralleled only by that which had followed the death of Labour’s first prime minister Michael Joseph Savage in 1940.

I remember the 1972 election campaign well. National had been in power since 1960. The line in Labour’s campaign, “It’s time for a change, it’s time for Labour,” captured the nation’s mood. Claire Robinson, a former communications professor at Massey University, has called “It’s Time” New Zealand’s best election slogan. Kirk dominated the 1972 campaign. It was a personal triumph.

Cinemas around the country screened Labour’s striking, full-colour, split-screen campaign advert. Kirk, against some initial personal opposition, had been persuaded to grow his hair a little longer for the campaign. Once a hulking 130 kilos, by 1972 he had slimmed down. His suits were fitted and stylish. Filmed racing up the steps of parliament, he looked dynamic; like a prime minister in waiting.

On election night 1972, my flatmates and I had celebrated Labour’s election victory with gusto. Twelve years of National party rule had finally come to an end. It was such a relief. The defeated National candidate for Papanui lived directly across the road from us. As the  results of the election became clear, we blasted out ‘The Internationale’   and ‘The East is Red’   into the cool, late-night air. I did not believe Labour had all the answers to what was needed – at the time, I thought they had very few of the answers – but there was at last room for some hope.

Any assessment of Kirk’s premiership needs to begin with an appreciation of what New Zealand was like in 1972 and where it had just come from.

I was born in 1946, one of the baby boomer generation. The New Zealand of my childhood and early teenage years was largely rural, male-dominated and conservative. Men wore the pants; women an apron. Male hairstyles ranged all the way from short back and sides to bald. Liquor licensing laws required hotels to close their bars at 6pm.

Pākehā citizens – well, most of them – believed the country had the best race relations in the world. Prime minister Keith Holyoake had assured my Northland College school assembly that this was the case. Rugby was God, especially when played against South Africa. Since 1921, all-white South African rugby teams touring New Zealand had been welcomed by almost all Pākehā. The breadth of Māori opposition to such visits was never appreciated.

Frank Corner recalled, before leaving for New York in 1961 to take up the position of permanent representative to the United Nations, that the only piece of advice Holyoake had for him was to refrain from using the word “abhorrent” in relation to apartheid. “My people don’t like it”, Holyoake had said.

The nuclear issue wasn’t an issue. Nuclear power was favoured by both National and Labour. Abortion and male homosexuality were illegal. In Wellington, coffee bars were seen as hangouts for bohemians. In 1965, Christchurch musician Rod Derrett’s hit ‘Rugby, Racing and Beer’   summarised the culture of a generation.

By 1972, all this was changing. The newly elected third Labour government was facing a society in the midst of transition. The policies and values of post-second world war society were being vigorously challenged, in particular by baby boomers. The issues of concern were many: New Zealand’s involvement in the Vietnam war, French nuclear testing in the Pacific, the scheduled 1973 Springbok tour, and the presence of US military bases at Washdyke and Mt John. There was a range of issues affecting women’s rights, especially the demand for access to safe and legal abortions. Issues affecting Māori were being vigorously promoted: land loss, te reo and the role of the treaty. A Māori renaissance was underway. Environmental issues also figured in this complex mix.

Labour had come to power in the midst of a developing battle over what sort of country we were going to be. The question was, whose side would Labour be on? For those demanding change, would the new Labour government be a help or a hindrance?

By the time the fourth Labour government left office in 1990, the New Zealand of my childhood was a distant memory. Māori were recognised as tangata whenua. We were proudly anti-nuclear and anti-apartheid. Laws against male homosexuality had been repealed. Abortion access was being liberalised. Coffee became a huge part of daily life. (Wellington today has more cafes per capita than New York City.) The monoculture of rugby, racing and beer was well and truly dead.

This change did not occur overnight. It began in the second half of the 1960s, although the engine-room for much of the change was located in the 1970s. It was driven by ordinary New Zealanders who saw the need for change, who gave their energy and time to a wide variety of causes, who put their bodies on the line. It was an energy political parties and parliament were able to tap into.

Change often seemed slow in coming. It was a long and gradual process, but it had to start somewhere, and it started to gather real momentum after the election of the third Labour government in 1972. The person driving much of that change, especially in the international sphere, was Norman Kirk. 

A lthough his tenure in office was brief, his accomplishments were greater than those of many of his predecessors whose time in office had been significantly longer. This was partly a consequence of the timing of his premiership. By the time he was elected, the force for social change was already robust and multifaceted. Kirk’s developing sense of both New Zealand’s place in the world, and the type of society we should strive to be back home, were broadly in step with many (but not all) of those winds of change.

From the outset, Kirk presented the image of a man in a hurry. Within a month of assuming the treasury benches, New Zealand had established diplomatic relations with the People’s Republic of China. During the election campaign, he had promised that New Zealand’s military withdrawal from Vietnam would be completed by Christmas. It was. Before the year had come to an end, compulsory military training had been ended. In the months that followed, a grant was made to the United Nations Trust Fund for South Africa, a scheduled all-white South African rugby tour of New Zealand was cancelled, and our navy had become involved in protests against French nuclear testing in the Pacific.

At the Commonwealth Heads of Government meeting in Ottawa in 1973, Kirk established warm personal relationships with the leaders of a number of Commonwealth countries, particularly Indira Gandhi (India), Julius Nyerere (Tanzania) and Sheikh Mujibur Rahman (Bangladesh). Kirk invited Julius Nyerere to visit New Zealand, and in 1974 he became the first African head of state to set foot on New Zealand soil.

Kirk could be openly critical of the United States. In early September 1973, the democratically elected Chilean government of Salvador Allende was overthrown in a bloody coup. Kirk knew Allende and regarded him as a friend. Two weeks after the coup, Kirk addressed the United Nations General Assembly in New York. He was openly critical of the direct role the US had played in the coup. The following day he met with president Nixon at the White House.

Kirk was heading an activist government unlike any seen in the previous 40 years.

Kirk said he wanted New Zealand’s foreign policy “to express New Zealand’s national ideals as well as to reflect our national interests”. This notion was behind two of the Kirk government’s most significant actions: opposition to French nuclear testing in the Pacific, and the cancellation of the 1973 South African rugby tour.

When France first began atmospheric nuclear testing in French Polynesia in the mid-1960s, official New Zealand protests followed. With the 1972 election of Labour governments in both New Zealand and Australia, official opposition to these tests became more strident. In May 1973, in an effort to have these tests banned, both governments took France to the International Court of Justice. The court issued an interim ruling calling for the tests to cease. France ignored the ruling.

In June 1973, New Zealand opposition to French nuclear testing went beyond words and legal challenges. Two navy frigates, HMNZS Otago and HMNZS Canterbury, sailed into the test area. Kirk told the 242 crew of the Otago that their Mururoa mission was an “honourable” one − they were to be “silent witness[es] with the power to bring alive the conscience of the world”.

To emphasise the strength of New Zealand’s opposition to these tests, on board the Otago was cabinet minister Fraser Coleman. Explaining Coleman’s selection, Kirk said that the names of all 23 cabinet ministers had gone into a hat, and Fraser Colman’s, the lowly ranked minister of immigration and mines, was drawn out. Some insiders unkindly suggested that yes, there were 23 slips of paper in the hat, but they all had Fraser Coleman’s name written on them.

The opposition National party declined Kirk’s invitation to send a representative on the protest voyage. National’s leader, Jack Marshall, saw the despatch of the frigate as a “futile and empty gesture” that would only inflame the situation.

These protests grabbed world attention. They didn’t result in an immediate end to French nuclear testing in the Pacific – that was only achieved in 1996 – but they were influential in France’s 1974 decision to conduct its tests underground.

Kirk’s determination to change the way New Zealand viewed itself, the way it presented itself to the world, had first been on display a couple of months earlier. On 10 April 1973, his announcement that the government would not allow a Springbok rugby tour of New Zealand to take place was probably the first major marker of a seismic shift.

It is doubtful that any single issue was more central to New Zealand’s changing political and social landscape than that of our rugby relationship with apartheid South Africa. No issue better encapsulated the differences between those in New Zealand seeking change and those committed to maintaining the status quo. It was a lightning rod for conflict.

Frank Corner, secretary of foreign affairs during Kirk’s prime ministership, told me in an interview in 1998 that Kirk “could see that if he stopped the tour, he could lose the next election. But the tour did not fit in with his view of what New Zealand should do in the world, and what its standing would be should it proceed.”

It was a brave decision to stop the tour, and it engendered strong opposition, much of it absurd. Jock Wells, the president of the Wellington Rugby Football Union, called the tour’s cancellation “the worst news I have heard since 34 years ago when Chamberlain stated that England was at war with Germany.”

The decision to stop the tour had a remarkable but little-known impact on one of South Africa’s most important anti-apartheid activists. In 1995, Nelson Mandela told Norman Kirk’s son Phillip that learning of the tour’s 1973 cancellation from his prison cell was the first time he thought apartheid might actually be able to be ended in his lifetime.

T he extent to which it was Kirk who drove the decision to stop the tour became clear the year following its cancellation. In 1974, former Auckland University Students’ Association president Bill Rudman was teaching at the University of Dar es Salaam. That year’s Commonwealth finance ministers meeting was being held in the Tanzanian capital. Rudman was one of the New Zealand expats invited to meet with finance minister Bill Rowling. Rudman, who had been one of the 14 who had attended the inaugural meeting of the Halt All Racist Tours (HART) movement, congratulated Rowling on the government’s decision to stop the Springbok tour. Rowling’s response took Rudman by surprise: “That was Mr Kirk’s decision.”

Kirk’s understanding of his foreign affairs brief was detailed. In the early 1970s, the politics of South Africa’s liberation struggle were complicated. Meeting with Kirk in early 1974, I was part of a small National Anti-Apartheid delegation discussing recent developments there. We left impressed. Kirk opened the conversation, and after five minutes, we realised there really wasn’t any need for us to be meeting with him. The position he was advocating was much stronger and more detailed than anything we had gone seeking to achieve.

Kirk was fortunate to have Frank Corner at the head of the Ministry of Foreign Affairs. He was both vastly experienced and on the same internationalist wavelength as Kirk.

Not all senior civil servants were an asset. Kirk was badly let down by the leadership of the Security Intelligence Service. Shortly after the cancellation of the 1973 rugby tour, HART became aware that the previous National government had given the SIS approval to bug HART’s headquarters in Christchurch. An agent had been installed in the house next door. Electronic equipment enabled conversations to be picked up and recorded. One of my flatmates, HART activist Piers MacLaren, wrote a detailed letter to the prime minister advising him of this.

Kirk’s response was unambiguous. “The Security Service considers that your allegations are unfounded and possibly libellous. In my turn, I can assure you that fears on your part that your name or the names of your flatmates are on Security Intelligence files are groundless.” Kirk had underlined the words “are groundless” with his fountain pen.

The prime minister was shortly to receive a shock. In her book Diary of the Kirk Years, Kirk’s private secretary Margaret Hayward writes, “Brigadier Gilbert [NZSIS director] is overseas and Mr Maling, the deputy director, has called to see the boss. The SIS is in trouble. Mr K told me Maling said they had been bugging Trevor Richards at HART headquarters … Mr K was furious. The SIS had assured him they were doing no bugging at all. When HART had written to him, Mr K had referred the letter to the SIS which stated the allegations were unfounded. What the hell were they doing making a liar out of the Prime Minister?” A memorable phrase from Kirk followed: “As things stood, it was like riding a bicycle downhill with no brakes”.

The matter surfaced again in 1974, a few months before Kirk’s death. By then my relationship with Kirk was good. At the end of a meeting at which a small group of anti-apartheid activists had been discussing the liberation struggle in South Africa, the prime minister followed us to the corridor and called me back into the office. It was the first time I had seen him looking tentative, uncertain. “How is our mutual friend?”, he asked a little awkwardly. I had no idea what he was talking about. “Has he been causing you more trouble?” I knew I was not going to be able to unscramble this one. “I’m sorry prime minister,” I replied, “I’m not sure what you are referring to.” He smiled and said, “Brigadier Gilbert”.

I told him that I was not aware of any trouble, but that I had not of course been aware of the previous bugging until after the event. We stood for a few minutes and chatted. The prime minister made it clear that he was very concerned about what had happened and that he was going to “sort the SIS out”. I left believing him.

Domestically, especially on matters relating to race relations, there had been significant progress since the change in government. In 1973, the Labour government announced that from 1974, Waitangi Day would be a national holiday known as New Zealand Day. With the exception of the 1940 centennial celebrations, Waitangi Day had barely registered with most New Zealanders. A public holiday only in Northland, it was regarded as no more than a local event. Kirk sought to change that; to make the day a celebration of New Zealand’s multiculturalism. A photograph of him walking hand-in-hand across the marae at Waitangi with a young Māori boy remains one of the enduring images of his leadership.

Labour’s record on race was not, however, without serious blemish. Relations with the Pasifika community were badly damaged when dawn raids were instituted against alleged overstayers from Pacific Island nations. Dr Melani Anae, a foundation member of the Polynesian Panthers (an activist group opposing the Dawn Raids) and later an associate professor in Pacific Studies at Auckland University, described these raids as “the most blatantly racist attack on Pacific peoples … in New Zealand’s history”.

Kirk had less success dealing with domestic economic issues. This is unsurprising. Small states have a limited capacity to overcome unfavourable international economic headwinds, and Labour was to encounter these. But not immediately. One of his first actions was to give pensioners a Christmas bonus. Labour’s first prime minister, Michael Joseph Savage, had done the same in 1935. In Kirk’s first year, the country’s books enjoyed a record surplus. The currency was revalued. External factors, however, were about to plunge the New Zealand economy towards recession.

The slowing world economy and an unprecedented rise in oil prices (“the first oil shock”) led to a rapid increase in government expenditure and spiralling inflation. By early 1974, the country’s economy was suffering. Kirk remained determined, no matter what the state of the economy, to implement election promises. To do otherwise he regarded as a breach of faith. His economic views remained firmly rooted in social democrat orthodoxy. He believed that “the role of the welfare state is to set people free”. The Dictionary of New Zealand Biography called Kirk “Labour’s last passionate believer in big government.” In the midst of a serious economic downturn, he died.

On issues such as abortion law reform and gay rights, Kirk was a social conservative, opposed to any change to the status quo.

O ver the period of his premiership, I had the opportunity to observe at close quarters, on the anti-apartheid issue, Kirk in action. My opinion of him was to change significantly. 

At the time that Kirk became prime minister, there was little indication that he would be remembered as a great internationalist. I had been enthusiastic about the Labour campaign advert I had seen in cinemas – I wanted Labour to win the election – but on the issue that concerned me the most, my view of Kirk was decidedly unenthusiastic.

During the 1972 election campaign, his views on the scheduled 1973 rugby tour had inspired no confidence in me. National had prominently displayed full-page newspaper advertisements promising that it would not be blackmailed into stopping the rugby tour. Labour, on the other hand, had assiduously sought to avoid the issue. In the run-up to the election, Labour promised not to interfere with the tour.

Once in power, Kirk seemed to be holding true to Labour’s election promise. He clearly had concerns about the tour, but there was nothing publicly to indicate that he was going to move in to stop it. Concerned by this apparent lack of commitment, in early February 1973 I issued a press release outlining what HART would do if the tour proceeded. My statement suffered no ambiguity. It received wide attention. The prime minister’s response was immediate and sharp: “Richards, you are not running the country.” 

I had always thought that Kirk and I had little in common. He was someone for whom 1960s counterculture had completely passed by. I had hair that my girlfriend’s mother said resembled a coprosma bush in a southerly. We were an unlikely pair to hit it off.

It was a difficult time for both the government and the anti-apartheid movement. We doubted the government’s commitment to stopping the tour, and Kirk – who, unknown to us, was becoming increasingly of the view that the tour should not proceed – was concerned that further statements from HART similar to that of early February would make his task more difficult. Kirk’s solution was to establish back-channel communications between himself and HART. 

Following my February 1973 statement, the message Kirk initially wanted relayed to HART was that the job of the anti-apartheid movement was to be calm and quiet. The government believed that our views were well-known, and the ball game was now being played on a different field – theirs. As time went on, although there was little public evidence to suggest it, we were being told to relax – the prime minister had the matter in hand.

Sometimes things dropped off the back of a truck. A few weeks before the tour’s cancellation, the prime minister met with a deputation from the pro-tour lobby. Some time later, a full transcript of the meeting found its way into HART’s hands. Clearly the government had wanted us to see it. The prime minister had told the delegation that his decision on the tour must be based only on one fact and that was what is in the best interests of New Zealand. Here was a PM thinking about who we were, New Zealand’s place in the world. “There is no evidence that I can find,” he told the delegation, “that supports in any way the continuation of the tour.”

In the period following the rugby tour’s cancellation, my relationship with Kirk changed. I settled into a comfortable, cooperative relationship with the prime minister. When he stopped the 1973 tour, Kirk said that “today’s announcement has been the establishment of a principle”.

For the remainder of the government’s term in office, many sports bodies sought to ignore this principle. A number of New Zealand sporting bodies, most notably rugby clubs and the Lawn Tennis Federation, remained intent on either issuing invitations to, or accepting invitations from, whites-only sports bodies in South Africa to tour. HART became energetic little bureaucrats, providing a receptive government with the information they needed to dismantle the often duplicitous claims advanced by sports bodies justifying these tours.

On other issues, Kirk’s relationship with HART was also warm. In the period after the tour was cancelled, the government and HART both developed warm relations with the Tanzanian government: Kirk with Tanzanian president Julius Nyerere, myself with Tony Nyakyi, head of the Tanzanian Ministry of Foreign Affairs.

One day in June 1974, the phone rang. It was the prime minister. I was about to travel to Tanzania as a guest of government to take part in celebrations marking the 20th anniversary of the formation of the party that had led Tanzania to independence. The government had also been invited, but the New Zealand Foreign Ministry had failed to alert Kirk to this. He was furious. Would I please explain to Nyakyi and others why there would be no official New Zealand representation at the celebrations? It was all a far cry from “Richards, you’re not running the country.”

More than any other administration since the 1950s, the third Labour government pursued policies which laid the foundation for New Zealand’s shift into a more progressive social and political space. Specifically, it changed how New Zealand related to the world; how it thought of itself. Within that government, no one was more instrumental in that process than prime minister Norman Kirk. Together with Peter Fraser, he was one of New Zealand’s two great 20th century internationalists.

Solvo - Math Homework Helper 4+

Problem solver & essay writer.

• #159 in Education
• 4.7 • 179 Ratings
• Offers In-App Purchases

iPhone Screenshots

Description.

Solvo is your new superpower in education and beyond Maximize your academic potential with your own personal AI homework helper! Meet Solvo—an AI-powered math, chemistry, biology, physics solver & essay writer that revolutionizes the way you manage study assignments. Simply scan, type, or upload the task in front of you and let the app work its magic! Check out what Solvo can help you with: Scan & Solve • Scan and solve math problems, equations, and more Faced with a boss-level problem (e.g., you need science answers) and don’t know where to start? Snap a picture of it—you’ll see the result and in-depth solution steps. This way, you gain more insights into how to tackle certain tasks and become more confident solving them yourself next time! Math, science answers, and more—you name it, our AI homework helper helps with it in a flash. • Ace any test and quiz Our AI homework helper can answer all sorts of questions typically used in tests and quizzes, including true or false, multiple-choice, and open questions. Biology solver? Chemistry solver? It’s already in your pocket! Simply tap Text-Based Problems, snap a picture of the question, and get your answer in seconds. This feature can also help you test your knowledge and prepare for exams. Streamline Reading & Writing • Write killer essays in a breeze Have excellent ideas for your essay but find it hard to articulate them clearly? No problem—Solvo is an experienced essay writer! Simply tap Create Essay and type your subject. You can go ahead and use the output directly or to get your creative juices flowing. • Improve and reword your writing Solvo isn’t just an essay writer—it’s a great editor! Already prepared a draft of your text and need help with polishing it into something truly A grade-worthy? Just upload your writing to our AI homework helper, and the app will offer suggestions to reword and improve it. This can be a game-changer if you feel stuck with a writing assignment. • Read smarter, not harder Our AI homework helper can be a lifesaver if you need a quick overview of a book. Type the name of the book or its author, or upload the book if you've got a file, and no matter how long or complex, tap Generate Summary. Get the essentials in a breeze! Math solver, physics homework solver, essay writer, biology solver, chemistry solver—Solvo wears many hats! Yes, studies can be challenging, but with our AI homework helper, you're well-equipped to handle them! Get answers to all your problems—including tricky science answers—with prompt assistance for your tasks whenever and wherever you need it and enjoy studying with less anxiety. Be unstoppable in class with Premium! A subscription allows you to: • Remove usage limits • Get more detailed answers • Use text recognition (OCR) • Get instant responses Subscriptions are auto-billed based on the chosen plan. Privacy Policy - https://aiby.mobi/ai_study_ios/privacy Terms of Use - https://aiby.mobi/ai_study_ios/terms

Version 1.30

Get ready for the back-to-school season with Solvo! In this update: — Improved scanning and solving of visual tasks (including graphs, geometry, tables, and more) — Leave feedback after any solution, so we can continue improving task-solving — Copy and share any solution Don’t forget to send feedback to [email protected] and leave your review on the App Store! It helps us make the app even better.

Ratings and Reviews

179 Ratings

A wonderful app

Very helpful app I was needing something to help me with my daughter’s homework my daughter is horrible on taking notes in school. And if I have notes to see the task I’m good at figuring it out how to do the rest so I tried this help because I couldn’t find anything online to help me. So when this can’t up I was like why not. And I was glad I did it tells u how to solve it. And I could figure out the rest by their help. The only thing I would like if they make another app or add on this this one for younger kids. I know a couple of parents that also need help with there kid’s homework (how to help there child I don’t do it for my kids do there homework but I have to explain it to them sometimes and for that I need to refresh my mind as will) and this is a great app for that just hope they for something god younger students grades 2nd to 5th graders would help parents a lot.

Great App / One Major Issue

I love this app. Its saved me multiple times on upcoming tests, and the great thing about it is it thoroughly goes through the topic step-by-step making sure you understand how the AI got to the solution. All that to be said, I really wish there was a feature to edit the text that was scanned in the picture. I think its already an intended design because theres text displayed saying if you’d made typos heres the time to fix it, but it doesn't work. Tapping on the screen doesn't do anything. You can copy and paste the text but theres no way to edit it where the users keyboard opens. This is a 10/10 if I could edit the prompt.

Great academic support

Solvo has truly been a remarkable discovery for me as a busy working mom. My son has been facing difficulties with certain subjects in school, and finding the time and energy to assist him with homework has been a challenge for me. Since we found Solvo, everything has changed for the better. My son doesn’t give up on his assignments when they’re difficult. Solvo gives me peace of mind. I know my son receives the help he needs. The app has empowered my son to become more independent in tackling his academic challenges without unnecessary stress. I highly recommend Solvo to all working parents who want to actively support their children’s education. It’s an invention that has made a significant difference in our lives.

HAPPENING NOW

App privacy.

The developer, AIBY , indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .

Data Used to Track You

The following data may be used to track you across apps and websites owned by other companies:

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The following data may be collected and linked to your identity:

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Privacy practices may vary, for example, based on the features you use or your age. Learn More

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American women still have fewer orgasms than men , according to new research that suggests that decades after the sexual revolution, the “orgasm gap” is still very much in effect.

One of the study’s lead authors at the Kinsey Institute for Research in Sex, Gender, and Reproduction told The New York Times that the gap persists because many Americans continue to “prioritize men’s pleasure and undervalue women’s sexual pleasure.”

As my research shows , these attitudes toward sexual pleasure have a long history.

But so do efforts to push back against them.

Almost a century ago, a pioneering American sex researcher named Katharine Bement Davis challenged the prevailing view that respectable women did not — and should not — experience sexual desire or have sex, except to please men or to have children.

Davis’ 1929 book, “ Factors in the Sex Life of Twenty-Two Hundred Women ,” completely upended this thinking.

By surveying everyday American women, she was able to show that it was completely normal for American women to have sex for the sake of pleasure.

An unlikely advocate for sexual liberation

Davis spent the first half of her career policing women’s sexuality, not promoting it.

In 1901, after earning her doctorate at the University of Chicago, Davis became superintendent of the New York State Reformatory for Women at Bedford Hills . While there, she studied the women in her care. Most female convicts, she concluded, were “immoral women.”

Davis’ efforts to enforce sexual morality drew the attention of philanthropist John D. Rockefeller Jr. In 1917, he invited her to lead his private agency, the Bureau of Social Hygiene , founded to study and combat prostitution and venereal disease.

During World War I, Davis promoted sex education to curb sexually transmitted infections among soldiers and civilians. Through this work, she became convinced that sexual ignorance — not sexual immorality — posed the greatest danger to women’s welfare.

Davis had long criticized the sexual double standard , which condoned men’s sexual experimentation but condemned women’s sexual experience.

Now, she also recognized that this double standard promoted women’s chastity at the expense of knowledge. She complained that discussions of women’s sexuality were “taboo,” which resulted in “distorted views, baffled speculation, and unfortunate experiences.”

Tackling a taboo topic

Insisting that Americans needed accurate information to achieve “a sane outlook on all matters pertaining to sex,” Davis made it her mission to teach women about sex.

But first, she needed to learn about women’s actual sexual experiences. Davis decided to undertake a large-scale study of what she called “the sex life of normal women.”

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Davis’ approach was a dramatic departure from existing studies of “abnormal” sexuality focused on institutionalized populations. “Except on the pathological side,” she remarked , “sex is scientifically an unexplored country.”

By contrast, Davis explained , she wanted to understand “the woman who was not pathological mentally or physically.”

To that end, Davis distributed a detailed questionnaire to what she called “women of good standing in the community” from 1921 to 1923. The resulting study sample of 1,000 married women and 1,200 unmarried women was not representative — it skewed white, well-educated and well-to-do. But their responses allowed Davis to redefine female sexuality.

America’s first sexual revolution

Davis launched her study of women’s sexuality during what historians now refer to as America’s first sexual revolution . The second — and more well-known one — would take place in the 1960s .

In the 1920s, as one commentator noted , a “revolution in manners and morals” was underway. Sex suffused popular culture. Contestants in beauty pageants displayed their charms in skimpy bathing costumes and short skirts. Actresses flaunted their sex appeal on stage and screen.

New attitudes about sex affected the daily lives of average Americans, too. Young women throughout the nation adopted the sexy look of “ flappers ,” the term used for women who sported short skirts, rolled stockings and bobbed hair.

Prior to the 1920s, courtship often took place in the home, allowing parents to closely supervise couples. But the ubiquitous automobile — which one juvenile court judge had dubbed “a house of prostitution on wheels” — rendered adult chaperonage obsolete and granted young people unprecedented sexual freedom.

Meanwhile, birth control activists like Margaret Sanger and Mary Ware Dennett distributed contraceptive devices and disseminated sexual information in defiance of the Comstock Act of 1873 , which had defined birth control and sex education as “obscene” and made circulating such materials a federal crime.

Sex, secrecy and shame

Even amid the nation’s first sexual revolution, the facts of life remained in short supply.

According to surveys Davis distributed to married women, only about half of the respondents believed that they had been “adequately prepared … for the sex side of marriage.”

After expanding her study to include unmarried women, Davis found that fewer than one-third of all participants received sex education from their parents.

Many women didn’t know how pregnancy occurred. Some had been unprepared even for menstruation. One recalled that when she experienced her first period, “I naturally thought I was bleeding to death.”

In place of information, many women imbibed shame. “Having acquired the feeling as a small child that any sex pleasure was shameful and a great sin,” as one respondent put it , some could never overcome their discomfort with sex. Another woman regarded all sexual thoughts as “something to be shunned like the devil.”

One response succinctly summarized the problem : “Our present secrecy, fear, and repression are responsible for most of our sex ills.”

Challenging the conspiracy of silence

Many women were eager to challenge what one called a “conspiracy of silence” surrounding female sexuality.

Study participants ended up providing Davis with more than 10,000 pages of handwritten responses. She used this information to produce the nation’s first major study of women’s sexuality , a 400-plus page book brimming with both statistical data and personal stories.

“ Factors in the Sex Life of Twenty-Two Hundred Women ” covered a wide range of topics, ranging from sex education to sex play. Running throughout the entire work, however, was one central idea: Women liked sex.

Davis included data on birth control, same-sex relationships and masturbation. At the time, these practices were universally stigmatized and often criminalized. Yet significant proportions of study participants engaged in all these activities.

Nearly three-quarters of married respondents reported using contraceptives. Many probably took advantage of state laws allowing physicians to prescribe diaphragms to protect patients’ health. Surprisingly, nearly 1 in 10 women admitted having abortions, even though the procedure was illegal in every state.

More than half of unmarried women and nearly one-third of married women stated that they had experienced “ intense emotional relationships ” with other women. In each group, approximately half described those relationships as sexual. This was a remarkably high figure, given prevailing views of homosexuality as sexual deviance and state laws criminalizing homosexual acts .

Nearly 65% of unmarried women and more than 40% of married women reported masturbating . Since nearly all physicians and pastors condemned the practice , Davis assumed the actual numbers were even higher.

Davis’ data demonstrated that “normal” women experienced what one called “natural sex feeling.” In short, her study showed that many women enjoyed sex for its own sake.

Davis believed that reliable data would lead to “more satisfactory adjustments of the sex relationship.” In other words, better information would lead to better sex.

Davis paved the way for future studies that validate women’s sexual pleasure. While researching female sexuality, she established the National Research Council’s Committee for Research on the Problems of Sex . The Rockefeller-funded committee later subsidized Alfred Kinsey’s studies of human sexuality.

Davis’ legacy lives on. The findings from the Kinsey Institute’s latest study show that discussing sexual pleasure still matters, particularly for women. It also suggests that Americans’ understandings of sex have improved over the past century.

When Davis conducted her study in the 1920s, she found it “advisable” to define “orgasm” for participants who were unclear on the concept. Now, a generation of better-informed Americans ponder how to address a persistent “orgasm gap.”

Anya Jabour is Regents Professor of History at the University of Montana. This essay originally appeared in The Conversation and is republished under a Creative Commons license.

© 2024 The Conversation

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