Examiners report 2014

Examiners reports 2014 Examiners report 2014 EN2040/EN3040 Victorians Advice to candidates on how Examiners calculate marks It is important that candidates recognise that in all papers, three questions should be answered in order to get the best possible mark (ensuring that the rubric for the paper has been followed accordingly). Examiners follow a simple mathematical formula when awarding a final overall mark: they give each answer a mark out of 100 (up to three answers only, as required by the exam paper); they then total all available marks; and finally they divide the total by three, thus giving an average overall mark. So, if your first answer is given 57%, your second answer is given 56%, and your third answer 50%, then the calculation will look like this: 57 + 56 + 50 = 163 163 3 = 54.3 Overall mark: 54% Two good essays and no third essay will always bring the mark down. So, if in the example above a third answer was not given, the calculation would look like this: 57 + 56 = 113 113 3 = 37.6 Overall mark: 38% In this case, even if the candidate had written a poor third answer getting a mark of 40% their overall mark would be higher than not attempting an answer at all: 57 + 56 + 40 = 153 153 3 = 51 Overall mark: 51% Note in the example above how the 40% mark, while low, still enables the candidate to achieve an overall mark in the Lower Second category, which is in keeping with their first two marks of 57% and 56%. Not answering a third question would see the candidate lose considerable marks and drop two whole classes. It could also mean the difference between a pass and a fail. Candidates are thus strongly advised to give equal attention across the paper, plan their time accordingly, and attempt to provide three answers of roughly the same length and as full as possible. Candidates are also reminded that it is totally unnecessary to copy out the question again into the answer book; a question number in the margin is sufficient enough, and this will also save valuable minutes. 1

EN2040/EN3040 Victorians Examiners report 2014 EN2040/EN3040 Victorians General remarks This report is designed to provide a critique of candidates answers to Sections A, B and C of the Victorians examination paper (2014). It will consider the strengths and weaknesses of the answers and will suggest some approaches candidates might take in responding to the questions. The unit was, as in previous years, popular with candidates. Answers of varying quality were produced, demonstrating different levels of ability and preparation. The course covers a wide range of Victorian texts and offers candidates the opportunity to discuss authors and texts in relation to cultural and historical contexts. Candidates should demonstrate familiarity with the texts listed in the subject guide, but are encouraged to develop their own interests by reading as widely as possible, in order to achieve a deeper understanding of the period. Candidates should analyse texts in terms of style, attitude and content as well as exploring cultural and historical questions. Any discussion of social or historical context must be supported with detailed reference to a text. When discussing a topic such as education, for example, it is more effective to observe and comment in detail on the kind of schooling that a character in a particular novel receives, than to make a generalisation about education in the Victorian period that may strike a specialist reader as superficial or only partly accurate. Candidates should also familiarise themselves with some critical readings of Victorian literature and be able to apply them to their own analyses of literary texts. Candidates must take the time to read the whole examination paper carefully and to ensure that they answer the questions as precisely as possible. Some questions focus on a particular theme, while others may require specific attention to language, style, imagery or other literary devices. Candidates should also pay attention to instructions about the number of authors or texts to be discussed in Sections B and C. The Examiners would like to encourage candidates to plan their time carefully, as Sections A, B and C carry an equal number of marks and failure to complete one of the three essays significantly lowers a candidate s final mark. It is worth spending some time practising the skill of writing an essay in an hour or so, and candidates are reminded to ensure that their handwriting is legible. Comments on specific questions 2 Section A Question 1 Write on one of the following passages, showing how in attitude, themes and style it is characteristic of the period. In this section candidates are asked to discuss one of five passages, to assess the form, style and content of the chosen text and show how these elements are characteristically Victorian. It is helpful to start by giving a short overview of the passage: the description of the content of the passage should act as an

Examiners reports 2014 introduction, not the main argument of the essay. Candidates must attempt to apply their critical skills and comment on the style and language used in the passage as well as its content. A good way to demonstrate the passage s Victorian characteristics is by commenting briefly on similar elements in some of the other texts studied on the course. Essay writing practice for this section is strongly recommended, as many candidates offer Section A answers that are noticeably weaker than those in Sections B and C. The most common error is to present a prepared overview of the Victorian period or of a specific topic that is loosely connected with the passage. Social and political context should form part of the answer but the commentary must focus on critical analysis of the selected passage. Passage (a) Arthur Hugh Clough s Say Not the Struggle Nought Availeth is a short lyric poem that can be sung as a hymn. As might be expected in a hymn, the rhythm and the rhyme scheme (abab) are simple and regular. The diction includes archaisms such yon and e en as well as the verb forms availeth and faileth, and syntactical inversions such as Say not. These expressions are not typical of everyday Victorian speech, but would have been familiar to readers who heard or read sections of the Bible on a regular basis. The first two stanzas appear to describe the struggle between hope and fear on a battlefield ( wounds, enemy, possess the field ). The speaker exhorts the listener not to despair, even though it is hard to determine which side is winning. As the poem continues, the third stanza introduces a new image of waves breaking against the shore and water seemingly defeated but gradually flooding the land. This sea imagery might be connected with poems such as Dover Beach, in which Matthew Arnold writes of the Sea of Faith. In the final stanza, the dominant image is one of light (consider the possible connotations of light). Looking back at the poem as a whole, what underlying theme could link images of battle, the sea and light with Clough s use of biblical language? Passage (b) This passage from Charles Dickens s Oliver Twist begins with Oliver s first night in the workhouse and goes on to describe the kind of life that poor people would have in that institution. Dickens goes on to describe the members of the board whose decisions about how to treat the workhouse inmates determine the conditions that Oliver encounters. The details of food, clothing and other arrangements should be noted, and you might think about how these conditions compare with those found in other Victorian institutions for the poor (e.g. Lowood School in Jane Eyre). As most candidates who chose to write about this passage commented, one of the most notable aspects of this passage is Dickens s satire. Examine the passage carefully to find examples of irony. There are many hints that the narrator s apparent praise of the workhouse board reflects the board members own belief that they are generous, and that the reality is far from a luxurious paradise. You might also make connections with Dickens s criticisms of society in texts such as Bleak House or Hard Times, or with representations of poverty in the social problem novel. Passage (c) This passage from R.L. Stevenson s The Strange Case of Dr Jekyll and Mr Hyde narrates a violent crime. The first few sentences set the scene, as a third-person omniscient narrator describes the incident in general terms and describes a maidservant who observed the attack. The maid is looking out at a calm and moonlit street, when her musing is disturbed by the appearance of two men. The narrator begins to tell the story from the maid s perspective, and comments that she has narrated the experience herself. The contrast between 3

EN2040/EN3040 Victorians 4 the two men is described in terms of physical appearance as well as their actions. Mr Hyde s impatience quickly becomes anger, then ape-like fury as he shockingly tramples the old man. The horror of the scene is conveyed by the details and by the maid s reaction. It would be possible to compare this scene with other descriptions of violence or crimes, or to think about the urban setting of the narrative. Passage (d) Anne Brontë s short lyric, Night, begins with a stanza praising the silent hour associated with blissful dreams and charmèd sight. In this first stanza, the night encourages a pleasant state in which the receptive mind receives visions that the waking eyes cannot see. As the poem goes on, a more ominous note is struck by the mention of a voice silenced by death, a theme strengthened in the final stanza, which begins with the uncompromising phrase Cold in the grave. The poem recalls past bliss interrupted by death, and the blissful dreams of the silent hour of night are revealed as memories of a lost love. The pathos of the poem gradually builds up to a statement in the last two lines that reunion with the beloved is possible only in dreams. This poem could be compared with other texts about love and death, such as Tennyson s In Memoriam or Christina Rossetti s When I am dead, my dearest. Passage (e) This passage from John Ruskin s Sesame and Lilies explains the relationship between the sexes as one in which men and women have distinct capabilities and are fitted to play very different roles in society. The first sentence of the passage (part of an ongoing argument, as the opening word Now indicates) firmly establishes the idea that men and women are separate characters. Looking more closely at the language Ruskin uses, note what kind of activities and states of mind he associates with men and women. How do men and women complement each other? Is there anything you find surprising about his statement? For example, he describes men as prone to error and failure, while women judge infallibly, yet how much power or freedom does the woman described by Ruskin actually have? The home is seen as a sacred and protected space how does this compare with representations of the home in other texts? It is worth noting that although commentators such as Ruskin describe gender in binary terms, emphasising the separate spheres occupied by men and women, such ideologies are not simply accepted by all Victorian writers. To contextualise this passage, think about texts that highlight gender and whether the author or characters seem to conform to Ruskin s descriptions or to challenge them. Section B Answer one question in this section. You should refer to the work of one writer only. Question 2 What narrative techniques does any one Victorian writer use to create suspense? This question could be approached by discussing subjects on which Victorian writers create suspense and considering what kind of narrative techniques they employ. The narrator might create suspense by withholding important information from the reader (as, for example, Lucy Snowe conceals the identity of Dr John in Villette), delaying a revelation that will affect the fate of one or more characters, or by allowing a reader to see something that the characters have not yet discovered. Another approach to the question would be to think about Victorian novels that were published in weekly or monthly instalments and examine where the author chooses to interrupt the narrative to make readers wait for the next instalment. Charles Dickens s novels are an obvious

Examiners reports 2014 example here, but it would also be possible to discuss texts by Elizabeth Gaskell, Thomas Hardy or Wilkie Collins. Question 3 How far would you say that the representation of religion by any one Victorian writer is affected by advances in scientific knowledge? This question attracted answers on a wide range of texts. Issues relating to science and religion might be examined in relation to the idea of evolution or the discoveries of geologists. In Alfred Tennyson s In Memoriam and Matthew Arnold s Dover Beach, for example, religious doubt is intensified by the sense that the universe is random and impersonal: the speakers lack any sense that there is a benevolent God controlling nature. It would also be possible to consider the representation of science and religion in fiction, such as The Strange Case of Dr Jekyll and Mr Hyde. Question 4 Explore and evaluate how any one Victorian writer uses secrets in a novel. This question asks for an analysis of the use of secrets in a novel. As with Question 2, this question could be answered by looking at how much knowledge the reader and the characters share, and whether the narrator is conspicuously withholding crucial information. Alternatively, a strong answer might focus on texts in which a secret or a mystery is central to the plot. Some examples might be the changing appearance of Dorian Gray s hidden portrait, the experiment that Dr Jekyll conducts, or Jane Eyre s concealment of her identity after her flight from Thornfield. Candidates are reminded not to summarise the plot of a story but rather to use carefully selected examples to back up their arguments. Question 5 To what extent would you agree that in Victorian writing, Britain is depicted as a disunited society? Refer to the work of any one writer. The majority of answers to this question looked at social problem novels such as Elizabeth Gaskell s Mary Barton or Benjamin Disraeli s Sybil, defining disunited in terms of disparities in class and wealth. Other areas in which the Victorian era might be seen as disunited are politics, education and religion. Conflicts between inhabitants of cities and the rural population in Thomas Hardy s fiction would also be worth considering. Question 6 Do you think that a text can be both Gothic and realist? Discuss with reference to any one Victorian writer. Answers to this question focused on novels by the Brontës, such as Wuthering Heights and Villette. Some other relevant authors are Dickens, R.L. Stevenson or Bram Stoker. Some responses to this question did not sufficiently establish an awareness of the literary associations of the term Gothic (and, to a lesser extent, realist ). Gothic fiction combines elements of horror and romance, and often involves the supernatural, ghosts, madness or secrets. The combination of realism and the Gothic might involve a protagonist with an overactive imagination, or uncanny elements of the plot that cannot be explained within a realist depiction of everyday life. In some cases, apparently Gothic phenomena are undercut by realist explanations, as in Villette when the ghostly nun is revealed to be a disguise adopted by one of the characters. 5

EN2040/EN3040 Victorians 6 Question 7 Discuss the representation of self-denial and/or selfishness in the work of any one Victorian writer. Responses to this question explored self-denial and selfishness in novels by George Eliot and the Brontës. Eliot s heroines are particularly notable for selfdenial, sometimes taken to extremes, whether for reasons of religion or as an aspect of gender roles in the period. Self-denial might be taken to include prioritising the needs of others (especially within the family) or denying oneself luxuries in terms of food or clothing. A more extreme example would be those characters (particularly women) who deny their own needs to the point at which they suffer long illnesses or even die. Selfishness may be found in a wider range of texts: one interesting possibility is Robert Browning s dramatic monologues, in which speakers may focus on their own interests to such an extent that they cannot acknowledge the humanity of others. Question 8 Explore and evaluate the language and imagery that any one Victorian writer uses with relation to death. There are many possible approaches to this question death appears frequently in Victorian novels and poetry, and a wide range of texts could be discussed in this context. Candidates should take care not just to describe relevant sections of plot, but to ensure that they analyse the significance of the selected episodes. Interpretations that could be developed into strong answers include the language and imagery relating to the death of a parent or a child, a brother or sister, or a friend. Death from hunger or an illness caused by factory conditions in a social problem novel might be represented quite differently from Tennyson s lyrical and elegiac poem to his friend, In Memoriam. It would also be possible to look at texts that represent death in war or in which murder becomes an intriguing mystery. Question 9 Discuss the notion of imperialism with reference to any one Victorian writer. Candidates who chose to answer this question focused on the works of Rudyard Kipling. In examining the Victorian representation of imperialism, especially in Kipling s stories or in work such as Wilkie Collins s The Moonstone, it is important to consider whether potentially pro-imperial or racist views are expressed by a character who is shown to be a reliable witness. If the speaker (whether as narrator or in dialogue) is shown to be of limited intelligence or questionable morality, is it reasonable to assume that the author endorses the speaker s views? How might the author question ideas about imperialism without directly challenging them? How does the author represent differences in language, race, religion and gender roles? Question 10 Discuss the treatment of one of the following with reference to the work of any one Victorian writer: a. gender b. charity c. work d. politics. This question differs from the other questions in the way that it gives candidates a choice of themes that they can discuss in relation to Victorian literature. Possible approaches would be to consider whether the given subject was a dominant theme in an individual writer s work, and its importance for

Examiners reports 2014 Victorian readers. The notion of gender is one that many candidates choose to address, and it is worth pointing out that while the changing status of women in the period is a compelling theme for Victorian writers, exploring representations of masculinity in the period is an equally rewarding topic. Charity is a topic that is treated both positively and satirically in Victorian writing, and it connects with important concerns such as religion and the condition-of-england question. Work might be interpreted in varied terms labour for money, art and artistry, a vocation. Politics is also a theme open to a variety of approaches, encompassing the role of parliament and movements such as Chartism as well as social policy. Section C Answer one question. You should discuss works by at least two different authors. Question 11 Explore the representation of childhood and/or education with reference to at least two different authors. This was a popular question, and candidates discussed a variety of texts, particularly novels. Texts such as Jane Eyre and Henry James s The Turn of the Screw were chosen by the majority of candidates, and the satirical representation of education in novels such as Charles Dickens s Hard Times or George Eliot s The Mill on the Floss was another prominent theme. Novels which follow the protagonist s life from childhood to adulthood allow for the exploration of childhood as a time in which the character s moral and physical development sets up possibilities that play out later in the text. However, not all characters get to experience the relatively leisured childhood that some middle-class protagonists enjoy, so it would also be possible to think about characters deprived of a childhood or education because they must work to support the family. Question 12 Compare how two or more Victorian authors use coincidence to construct their plots. Coincidence is a notable narrative device in the Victorian novel, used to connect apparent strangers who turn out to be related and who can help the protagonist to obtain a lost inheritance (as in Jane Eyre), or to show that characters who seem to operate in entirely different spheres of society are secretly connected (e.g. in Dickens s Bleak House). The author may suggest that the world of the novel is governed by a benevolent Providence, or that coincidences are random and meaningless. Question 13 Explore the representation of wealth and/or poverty with reference to at least two different authors. This was a popular question and candidates chose to answer on a wide range of texts. Victorian texts cover a very wide range from characters whose wealth enables them to spend most of their in exclusive and luxurious leisure pursuits (such as the characters in Oscar Wilde s plays) to the poor workers or beggars that writers like Dickens write about. Some authors aimed to bring the conditions in which poor people lived to the attention of middle-class readers, to stimulate their awareness of the inequalities in their society. 7

EN2040/EN3040 Victorians Question 14 How far would you agree that Victorian poetry is concerned with psychological complexity? Discuss with reference to at least two different poets. A few candidates attempted this question, in particular discussing Robert Browning s dramatic monologues. Speaking in the voice of a character from another era or from a previous text (such as Tennyson s Mariana or Ulysses ) allows the poet to explore extreme states of mind, to think about what it would be like to kill someone and feel no guilt or to suffer suicidal despair. Another approach might be to think about poems in which there is a conflict between the apparent message of the poem and its form. Question 15 To what extent do writers express anxieties about progress and/or decline in the Victorian period? Discuss with reference to at least two authors. Progress might be interpreted in terms of Britain s place in the world, the industrial pre-eminence of the Great Exhibition and the expansion of the Empire. Advances in science, the extension of the franchise in the Great Reform Acts, the emergence of the New Woman all of these changes could signify progress. Decline might be seen in the loss of religious certainty, in economic decline, or in cultural Decadence. Another approach to this question would be to look at progress or decline within the life of an individual character, a family, or a town such as Middlemarch in George Eliot s novel. 8