VCE · Text Response
Text Response: In his play, Sophocles portrays both the…
VCE Text Response essay scoring 77.5%: Grief motivates a man to achieve anything, yet can never cure itself. In Sophocles’ tragedy, Oedipus the King,…
Grief motivates a man to achieve anything, yet can never cure itself. In Sophocles’ tragedy, Oedipus the King, grief is portrayed as a deeply empowering experience that is hopeless in removing man’s suffering. Through grief motivating the journey towards intellectual enlightenment, Sophocles shows one’s ability to achieve greater knowledge that ultimately will only worsen mental state. He frames grief as a tool for repentance, bringing man to closer moral alignment with the gods yet not allowing them to avoid punishment. Moreover, he explores the destructive impact of grief, exhibiting how its powers of annihilation never translate to positive change, with grief ultimately being both powerful and futile.
As a tool for self-discovery, grief is a motive for intellectual enlightenment, yet is unable to change its status. Oedipus’ quest is driven by ‘his spirit griev[ing] for the city’ in the throes of the plague, viewing it as an opportunity to ‘defend [him]self’ from his torment by ‘avenging Laius’. Oedipus’ initial status as ‘the ignorant’ is made clear through Sophocles’ use of dramatic irony in the prologos. Oedipus’ misguided proclamations of being a ‘stranger to the crime’ and ‘stranger to the story’, and commitment to ‘fight for [Laius] as if he were [Oedipus’] father’, establish the lack of knowledge he possesses about himself. The gradual cessation of dramatic irony mirrors the character ‘solving the mystery of [his] birth’ and the murder of Laius. This attainment of understanding cements himself as an intellectual hero, with Sophocles portraying his grief for Thebes as empowering him to achieve this status. However, Oedipus’ attempts for relief are futile, with the achievement of his anagnorisis only exacerbating his grief. Oedipus’ imploring of ‘god’ for ‘all burst[ing] to light highlights the profound and devastating shock of the attainment of knowledge, resulting in an ultimate assertion that ‘no grief can crown’ his worsened despair. Through exploring Oedipus’ ‘precious eyes’ and eventual blindness, Sophocles portrays the duality of grief as both empowering yet destructive. Oedipus transforms from ‘blind to the corruption of [his] life’ to ‘see[ing] it all, clear as day’, yet the attainment of knowledge destroys his ‘precious eyes’; the ‘blood spurt[ing] from the roots’ mirroring the violence of his exacerbated torment. Ultimately, Sophocles posits that one can draw upon their grief to attain self-discovery, yet this exercise is futile in alleviating their emotional pain.
VCE · Text Response
Text Response: In his play, Sophocles portrays both the…
VCE Text Response essay scoring 80%: Additionally, grief drives individuals towards atonement for immorality, yet does not excuse them for their…
Additionally, grief drives individuals towards atonement for immorality, yet does not excuse them for their transgressions. In uncovering their cardinal sins, ‘griefs…burst upon’ the ill-fated couple, marked by Jocasta ‘[weeping]...the marriage bed’ and Oedipus ‘giving a low, wrenching sob’. Their grief is met with acts of flagellation, with Jocasta ‘swinging back and forth’ on a ‘woven noose’ and Oedipus imploring Creon to ‘drive [him] out of Thebes, in exile’. Sophocles utilises agricultural imagery to highlight the beneficent power of their actions, the ‘raging plague in all its vengeance’ symbolising the destructive consequences of their transgressions with implications far beyond their own. Sophocles posits that, in accordance with notions of divine inflexibility, the ‘blight’ must be ‘root[ed]...out’, accomplished by the grief-stricken self-destruction of the couple. However, Sophocles suggests that their actions are ‘past all cure’, as the ‘great laws [which] tower above us’ from ‘the
VCE · Text Response
Text Response: "Love is a creative act. When you love…
VCE Text Response essay scoring 87.5%: Set in a society built on violent acts, Trevor Noah’s memoir ‘Born a crime’ undermines the power of violence with…
Set in a society built on violent acts, Trevor Noah’s memoir ‘Born a crime’ undermines the power of violence with the power of love and demonstrates how acts of love can have astounding effects on an individual. In an apartheid and post-apartheid South Africa the need for love as a method of negating violence is necessary in order to overcome prevalence of violence in society. Noah also argues that while violent acts can have detrimental effects, sometimes, violence coming from places of love are crucial to the protection and development of an individual. Moreover, love and belonging within the females of the community, is essential to escape and combat the violent men who uphold virulent, patriarchal standards.
VCE · Text Response
Text Response: Systemic racism is a daily reality for…
VCE Text Response essay scoring 90%: Historical injustices have continually marginalised Indigenous populations, forcing them to endure the daily…
Historical injustices have continually marginalised Indigenous populations, forcing them to endure the daily impacts of a colonial society. Set on the backdrop of the Mooroopna Flats in 1950s Australia, Jane Harrison’s 2007 play ‘Rainbow’s End’ explores the prevalence of systemic racism and how this has limited the hopes and opportunities of Indigenous communities. Utilising the characterisation of the Dear women, Harrison celebrates the resilience of First Nations people while condemning oppressive institutions that imposed daily struggle.
Harrison examines how government policies limited the autonomy of Indigenous families on a daily basis. From the onset of the play, Harrison comments on the everyday struggles and hardships of living on the Flats, as she introduces the Dear women while they are [rebuilding after a flood]. This flood motif both literally and physically demonstrates the inadequate housing left to Indigenous families, and also suggests that the cycle of trauma and injustice is ongoing. This is supported by Dolly’s [resigned] sighs, highlighting how hardship and physical obstacles resulting from systemic oppression is accepted and normalised amongst Indigenous communities. Building on this theme of daily struggle, Harrison utilises figures such as the Inspector to epitomise systemic oppression, stereotypes, and intergenerational racism. The Inspector’s assertion that the “Aborigine must be absorbed in the community” and that he would "recommend assimilation in [his] report” brings attention to the blatant racism that is interwoven into colonial society. This confronting dialogue forces non-Indigenous and Indigenous audiences to recognise how latent discrimination pervades western society, and further illustrates how families endured the surveillance of white authorities, limiting their freedom and autonomy over their own lives. Furthermore, Harrison amplifies the denigrating ramifications of government policies through Ester, a minor character whose “boys” were “[taken]” by government authorities and later seen at the “cork trees.” The depiction of forceful removal from family and the Stolen Generation laments on the pernicious and destructive consequences of systemic oppression and assimilationist ideologies. Additionally, the motif of the cork trees is repeated frequently throughout the play, acting as a symbol for the everpresent impacts of colonisation, injustice, and trauma that Indigenous communities experience daily. In addition, Harrison strategically constructs a bookend structure with frequent references to the song ‘Que sera, sera.’ The repeated refrain “whatever will be will be” initially seems to offer a sense of hope. However, the implementation of the second verse after Dolly is raped questions “will there be rainbows day after day.” This cultivates irony as Harrison satirises hope and presents a sense of fatalism that dictates the power and control of Indigenous populations. The inclusion of this song in the Prologue, end of Act One, and in the final scene deliberately presents the crux of the play, raising the question as to whether Indigenous communities can truly escape the harsh vicissitudes of an oppressive society that aims to marginalise them on a daily basis.
VCE · Text Response
Text Response: In Oedipus the King, there are no right…
VCE Text Response essay scoring 75%: Written and first performed in Athens, 429 BCE, at a time of political upheaval and plague, Sophocles' Oedipus the…
Written and first performed in Athens, 429 BCE, at a time of political upheaval and plague, Sophocles' Oedipus the King explores the difficulty of establishing moral choices. Through the play, Sophocles illustrates the troubles of categorising choices as simply right or wrong, as the reasoning behind them can be much more complex. He explores that since fate has pre-determined the course of people’s lives, choices cannot truly be considered correct or incorrect. However, the play also depicts that even though there may not be inherently 'right' choices, there are still righteous ones. As the play unfolds, questions emerge regarding whether individuals can be held accountable for choices that were made when the truth was withheld from them.
Oedipus the King illustrates fate to be a largely significant factor in people’s lives. This too is seen in the choices that are made throughout the course of character’s lives, asserting that there are no specifically 'correct' choices because one’s fate cannot be escaped, no matter what choices are made. King Laius's order to "throw him out on a mountain rock" depicts this, as his attempt to get rid of Oedipus was futile and he survived to fulfill his fate regardless of the decision Oedipus's parents made. This leads to the question of whether making the right choices is truly important if the outcome cannot be avoided regardless of what action is taken. As such, the Athenian audience is encouraged to reflect on the role of fate and prophecy, as well as marvel at the power that the divine have over their lives too. The concept of no right choices is further reinforced by Oedipus’s attempt to "flee" from his home in Corinth in order to spare himself and his family from the prophecy. This demonstrates that despite having the right intentions, there is no escaping one's fate. This is done to strike fear in the Athenian audience upon realisation of how little control they truly have over their lives, further reinforcing their respect for the gods in order to avoid their wrath.
VCE · Text Response
Text Response: In The Complete Stories, how is the…
VCE Text Response essay scoring 72.5%: Self-interest is a prevalent issue in the human experience. In his realist fiction The Complete Stories, Malouf…
Self-interest is a prevalent issue in the human experience. In his realist fiction The Complete Stories, Malouf contends that self-interest can be self-destructive, driven by a yearning for individuality and stability, which can culminate in individuals becoming physically and emotionally disconnected, struggling to be vulnerable with their emotions. Malouf explores how a self-seeking persona is birthed from a desire for identity and control. Additionally, Malouf investigates the detrimental consequences of selfishness, where individuals risk becoming outsiders, unable to be sensitive with others. Ultimately, Malouf employs selflessness as a contrast to self-interest, exposing its destructive consequences and challenging its impact on human relationships.
VCE · Text Response
Text Response: ‘... how terrible – to see the truth when…
VCE Text Response essay scoring 75%: The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy, Oedipus…
The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy, Oedipus the King, Sophocles suggests that understanding reality is a highly unpleasant experience for man, yet can aid man’s growth. He frames the benevolent dictator as ineffective, shattering comfort in the ideal while allowing man to attain political change. He exhibits how deterministic truths elicit fatalism and the destruction of hope, yet allow man to attain greater understanding. In exploring the proscriptive nature of morality, Sophocles suggests that significant suffering will be imposed upon any transgression, highlighting the imperative of avoidance.
Through critiquing the benevolent dictator, Sophocles explores how realisations of their ineptness lead to the breakdown of political comfort. Oedipus is initially portrayed through a restrictive facade; a ruler to ‘trust’ and a leader ‘ready to help’, with his benevolent yet assertive leadership style ‘[giving] [Thebes] life’. The truth about his leadership is unravelled by Sophocles through the progression of the play, dismissing Creon’s suggestions in being ‘wholly wrong’, stating that he ‘must rule’. Through this, Sophocles frames the tension fundamentally around Oedipus’ use of a scapegoat to maintain political power. Oedipus ultimately resorts to cruelty in forcing the shepherd to ‘talk with pain’ to achieve a closure which ‘defend[s] [him]self’. Sophocles uses the double doors which ‘dominate the facade’ to illustrate Oedipus’ nature as a ruler, with the king projecting an image of benevolence outside the palace, hiding the corruption within. The doors serve to gradually reveal the truth, each opening withering away the heroic notion of the benevolent dictator. Ultimately, Sophocles reveals a truth about the style of leadership; that it is inherently corrupted yet a source of comfort for constituents. The erosion of their comfort is explored through the portrayal of Oedipus as a ‘good helmsman’ tasked with ‘steer[ing] [Thebes] through the storm’’. Through the association of the fate of the helmsman with the fate of Thebes as confined to the same ‘ship’ which ‘cannot lift her head from…the red waves of death’, Sophocles implies his submersion in ‘a black sea of terror’ as a collective ‘drowning’. This mirrors their significant emotional suffering, in the destruction of a connection in which their ‘breath leapt up in’ the leader. Their ‘weep[ing] like a man who wails the dead’ through their ideals of leadership ‘com[ing] to nothing’ signifies the emotional heartache that accompanies discovering the truth surrounding the pitfalls of absolute leadership. However, Sophocles suggests that this revelation is necessary to attain political progress. Sophocles presents Creon as a ‘[calm] and [rational]’ alternative to Oedipus’ charisma, a man of ‘self-control’ who is wary of absolutism as containing ‘painful duties’. His eventual attainment of power is presented as both a consequence of the emergence of the truth and the promise of positive political replacement. However, despite the revelation of the truth offering Thebes promise for political reform, Sophocles ultimately portrays the destruction of comfort in benevolent dictatorship as a deeply distressing experience.
VCE · Text Response
Text Response: ‘... how terrible – to see the truth when…
VCE Text Response essay scoring 72.5%: The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy,…
The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy, Oedipus the King, Sophocles suggests that understanding reality is a highly unpleasant experience for man, yet can aid man’s growth. He frames the benevolent dictator as ineffective, shattering comfort in the ideal yet liberating man to attain political improvement. He exhibits how deterministic truths elicit fatalism and the destruction of hope, yet allow man to attain greater understanding. In exploring the proscriptive nature of morality, Sophocles suggests that significant suffering will be imposed upon any transgression, highlighting the imperative of avoidance.
Through critiquing the benevolent dictator, Sophocles explores how realisations of their ineptness lead to the breakdown of political comfort. Oedipus is initially portrayed through a restrictive facade; a ruler to ‘trust’ and a leader ‘ready to help’, with his benevolent yet assertive leadership style ‘[giving] [Thebes] life’. The truth about his leadership is unravelled by Sophocles through the progression of the play, dismissing Creon’s suggestions in being ‘wholly wrong’, stating that he ‘must rule’. Through this, Sophocles frames the tension fundamentally around Oedipus’ use of a scapegoat to maintain political power. Oedipus ultimately resorts to cruelty in forcing the shepherd to ‘talk with pain’ to achieve a closure which ‘defend[s] [him]self’. Sophocles uses the double doors which ‘dominate the facade’ to illustrate Oedipus’ nature as a ruler, with the king projecting an image of benevolence outside the palace, hiding the corruption within. The doors serve to gradually reveal the truth, each opening withering away the heroic notion of the benevolent dictator. Ultimately, Sophocles reveals a truth about the style of leadership; that it is inherently corrupted yet a source of comfort for constituents. The erosion of their comfort is explored through the portrayal of Oedipus as a ‘good helmsman’ tasked with ‘steer[ing] [Thebes] through the storm’’. Through the association of the fate of the helmsman with the fate of Thebes as confined to the same ‘ship’ which ‘cannot lift her head from…the red waves of death’, Sophocles implies his submersion in ‘a black sea of terror’ as a collective ‘drowning’. This mirrors their significant emotional suffering, in the destruction of a connection in which their ‘breath leapt up in’ the leader. Their ‘weep[ing] like a man who wails the dead’ through their ideals of leadership ‘com[ing] to nothing’ signifies the emotional heartache that accompanies discovering the truth surrounding the pitfalls of absolute leadership. However, Sophocles suggests that this revelation is necessary to attain political progress. Sophocles presents Creon as a ‘[calm] and [rational]’ alternative to Oedipus’ charisma, a man of ‘self-control’ who is wary of absolutism as containing ‘painful duties’. His eventual attainment of power is presented as both a consequence of the emergence of the truth and the promise of positive political replacement. However, despite the revelation of the truth offering Thebes promise for political reform, Sophocles ultimately portrays the destruction of comfort in benevolent dictatorship as a deeply distressing experience.
VCE · Text Response
Text Response: ‘... how terrible – to see the truth when…
VCE Text Response essay scoring 72.5%: The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy,…
The facts of the universe are difficult to accept, and often lead to internal destruction. In his tragedy, Oedipus the King, Sophocles suggests that understanding reality is a highly unpleasant experience for man, yet can aid man’s growth. He explores the
frames the benevolent dictator as ineffective, shattering comfort in the ideal yet liberating man to attain political improvement. He exhibits how deterministic truths elicit fatalism and the destruction of hope, yet allow man to attain greater understanding. In exploring the proscriptive nature of morality, Sophocles suggests that significant suffering will be imposed upon any transgression, highlighting the imperative of avoidance.
Through critiquing the benevolent dictator, Sophocles explores how realisations of their ineptness lead to the breakdown of political comfort. Oedipus is initially portrayed through a restrictive facade; a ruler to ‘trust’ and a leader ‘ready to help’, with his benevolent yet assertive leadership style ‘[giving] [Thebes] life’. The truth about his leadership is unravelled by Sophocles through the progression of the play, dismissing Creon’s suggestions in being ‘wholly wrong’, stating that he ‘must rule’. Through this, Sophocles frames the tension fundamentally around Oedipus’ use of a scapegoat to maintain political power. Oedipus ultimately resorts to cruelty in forcing the shepherd to ‘talk with pain’ to achieve a closure which ‘defend[s] [him]self’. Sophocles uses the double doors which ‘dominate the facade’ to illustrate Oedipus’ nature as a ruler, with the king projecting an image of benevolence outside the palace, hiding the corruption within. The doors serve to gradually reveal the truth, each opening withering away the heroic notion of the benevolent dictator. Ultimately, Sophocles reveals a truth about the style of leadership; that it is inherently corrupted yet a source of comfort for constituents. The erosion of their comfort is explored through the portrayal of Oedipus as a ‘good helmsman’ tasked with ‘steer[ing] [Thebes] through the storm’’. Through the association of the fate of the helmsman with the fate of Thebes as confined to the same ‘ship’ which ‘cannot lift her head from…the red waves of death’, Sophocles implies his submersion in ‘a black sea of terror’ as a collective ‘drowning’. This mirrors their significant emotional suffering, in the destruction of a connection in which their ‘breath leapt up in’ the leader. Their ‘weep[ing] like a man who wails the dead’ through their ideals of leadership ‘com[ing] to nothing’ signifies the emotional heartache that accompanies discovering the truth surrounding the pitfalls of absolute leadership. However, Sophocles suggests that this revelation is necessary to attain political progress. Sophocles presents Creon as a ‘[calm] and [rational]’ alternative to Oedipus’ charisma, a man of ‘self-control’ who is wary of absolutism as containing ‘painful duties’. His eventual attainment of power is presented as both a consequence of the emergence of the truth and the promise of positive political replacement. However, despite the revelation of the truth offering Thebes promise for political reform, Sophocles ultimately portrays the destruction of comfort in benevolent dictatorship as a deeply distressing experience.
VCE · Text Response
Text Response: ‘... how terrible – to see the truth when…
VCE Text Response essay scoring 75%: In Oedipus the King, determinism is portrayed as the overpowering truth of the universe, driving emotional anguish…
In Oedipus the King, determinism is portrayed as the overpowering truth of the universe, driving emotional anguish and fatalistic surrender. Sophocles presents a thesis of ultimate control of fate, proven through the completion of prophecy. Despite their attempts at avoidance, Laius’ and Oedipus’ ‘awful prophecies’ are ultimately fulfilled, with ‘doom…strik[ing] [Laius] down at the hands of a son’, and Oedipus ‘coupl[ing] with [his] mother’ and ‘kill[ing] his father’. Although Oedipus claims that ‘the hand that struck [his] eyes was [his]’ and ‘[his] alone’, Sophocles forbids any acceptance of compatibilism, due to his fulfilment of Tiresias’ prophecy of ‘darkness shrouding [his] eyes’. Eventual realisations of deterministic truths result in great suffering, with Oedipus lamenting being ‘cursed to heaven’ and who ‘the deathless gods hate most of all’ due to his divine fate. Thebes’ realisation destroys their belief in the power of mortal ‘brilliance’ and
VCE · Text Response
Text Response: ‘... how terrible – to see the truth when…
VCE Text Response essay scoring 75%: Through critiquing the benevolent dictator, Sophocles explores how realisations of their ineptness lead to the…
Through critiquing the benevolent dictator, Sophocles explores how realisations of their ineptness lead to the breakdown of political comfort. Oedipus is initially portrayed through a restrictive facade; a ruler to ‘trust’ and a leader ‘ready to help’, with his benevolent yet assertive leadership style ‘[giving] [Thebes] life’. The truth about his leadership is unravelled by Sophocles through the progression of the play, dismissing Creon’s suggestions in being ‘wholly wrong’, stating that he ‘must rule’. Through this, Sophocles frames the tension fundamentally around Oedipus’ use of a scapegoat to maintain political power. Oedipus ultimately resorts to cruelty in forcing the shepherd to ‘talk with pain’ to achieve a closure which ‘defend[s] [him]self’. Sophocles uses the double doors which ‘dominate the facade’ to illustrate Oedipus’ nature as a ruler, with the king projecting an image of benevolence outside the palace, hiding the corruption within. The doors serve to gradually reveal the truth, each opening withering away the heroic notion of the benevolent dictator. Ultimately, Sophocles reveals a truth about the style of leadership; that it is inherently
VCE · Text Response
Text Response: The novel argues that true regeneration is…
VCE Text Response essay scoring 77.5%: In an epoch defined by brutal conflict, life in the trenches dramatically alters one’s psyche. In her anti-war…
In an epoch defined by brutal conflict, life in the trenches dramatically alters one’s psyche. In her anti-war novel Regeneration, Pat Barker contends that the experience of the trenches fundamentally destroys any possibility for true regeneration. Through illustrating the brutal realities of warfare, Barker reveals the depth of physical and psychological harm. The profound harms are framed as lifelong through Barker’s exploration of the ineffectiveness of psychotherapeutic healing. This is amplified by her depiction of early 20th century British society as one hell-bent on internally-damaging ostracisation.
By illustrating the brutal harm inflicted by warfare on combatants, Barker portrays the trauma imbued upon them as profound. Barker’s presentation of the trenches as akin to ‘Armageddon’ and ‘Golgotha’ serves as the basis for her discussion on its impact on combatants, encapsulating the ‘place of desolation’ and reinforcing the idea of its power to create profoundly damaging experiences. War leaves neither the physical nor the mental unscathed, with the use of bodies and wounds as a motif emphasising this. Their recurrence symbolises both physical destruction by an institution built to inflict harm, as well as their embeddedness in one’s psyche. Barker uses dehumanising language to describe the wounded, such as ‘creatures’, ‘figure’, and ‘deformed pseudo-dwarf’, a lexical decision emphasising the depth of their injuries to mirror the dehumanising nature of their trauma. Barker utilises sardonic humour in her description of bodies, such as ‘gob-stopper’, implying their desensitising prevalence in the trenches. Nonetheless, they have a parasitic psychological effect, with Prior’s internal repetition of ‘gob-stopper’ a constant reminder of graphic imagery encountered in the trenches. Throughout the novel, the mental and physical aftermath of war remains intertwined, emphasising Barker’s portrayal of war as an institution that destroys all aspects of oneself. Burns’s physical wastage is a product of his trauma leaving him unable to eat, turning him into a ‘scarecrow’, demonstrating the physical destruction experienced by the character in response to his trauma. The ‘totally blank stare’ of the wounded witnessed by Prior, as well as the ‘sombre and malevolent’ face of the injured seen by Rivers, are representatives of the opposite, where physical destruction leads to hopelessness and mental collapse. Through exploring the interplay between the physical and mental destruction of war, Barker presents the nature of wartime experiences as total and all-consuming to the individual. In Regeneration, the trenches are portrayed as synthesisers of deeply destructive experiences, leading to profound effects to the entire being.
VCE · Language Analysis
Language Analysis: An open letter to the Narrow Valley…
VCE Language Analysis essay scoring 67.5%: In response to a financially straining period for the Narrow Valley region, A local group of musicians wrote…
In response to a financially straining period for the Narrow Valley region, A local group of musicians wrote an open letter directed to the ‘Narrow Valley community, young and old, who wish to see our region rejuvenated’. Writing with a sense of earnest enthusiasm, the authors contend that a new music festival is the intervention needed to face economic and visitor traffic decline, as well as reinvigorate the spirits of residents. The author combines a simple photograph of assorted instruments with deliberate concessions to present this change to tradition as constructive of the characteristics of Narrow Valley, and inclusive to all residents and musicians, regardless of age or skill. The authors open charismatically, establishing themselves as a capable and agreeable group to present the proposed music festival as an inclusive and fun opportunity. They introduce themselves by listing their members as “music students, teachers, and mentors”, the triplet depicting a broad variety of age, and experience that illustrates an environment of both new growth and tested experience. This image appeals to musicians of the audience by presenting the group behind the music festival as both welcoming to beginners, and adequate for experienced or skilful members. Thus, enticing musicians to join and support the festival, which they describe using modernised progressive language as “inclusive, youth driven, energetic and shiny”. These words target residents of Narrow Valley interested in innovative change, portraying the festival as a source of “long overdue change” to reinvigorate the community. As a result, these positively geared adjectives convey a sense of excitement that add to the audience’s perception of the author’s pleasant charisma and energy. To add to this established relationship, the author’s then reference a statistic of their “thousands of followers on social media,” to provide objective proof to support their credibility as a successful music group. By including this, Narrow Valley residents and musicians alike are positioned to trust the capabilities of the group to provide a satisfactory music festival, allowing the authors to move towards practical persuasion. After establishing the promise of the music festival, the authors subsequently address concerns about the disruptiveness of a music festival especially to a rural community. Parodying the stubborn resistance of an audience member, they argue animatedly that the communities beloved Gorgeous Gardens Festival is declining, and musical change is what it needs. The authors reference concerns comedically, questioning “an unrelenting cacophony disrupting the peace and quiet of our streets?”. The image of a cacophony connoting an impressive and invigorating performance builds off their established credibility to ironically present concerns over the disruption of music as irrational. thus subtly discourages immediate concerns of residents inclined to be averse to obnoxious and loud performance. They finish the parody by shifting sentimentally to honestly address a pressing concern of many residents; “And… what about our Gorgeous Gardens Festival?” Using this concern as a bridging point, the authors reply “Yes. What about our garden festival”, the sentimental tone and inclusive language establishing shared values with the
VCE · Text Response
Text Response: “...count no man happy till he dies, free…
VCE Text Response essay scoring 87.5%: The world is a terrible place, and hope for anything better will lead to invariable disappointment. In Oedipus…
The world is a terrible place, and hope for anything better will lead to invariable disappointment. In Oedipus the King, Sophocles is highly pessimistic, expressing a belief in harsh political, philosophical and psychological truths. Sophocles explores the Theban political system, framing the transfer of leadership as merely a continuity of corruption. He portrays the world through a fatalistic and morally pessimistic lens, suggesting that philosophical truths leave little room for hope. In exploring the internal unravelling of the collective, Sophocles suggests that psychological torment will ultimately prevail over hope, making it impossible to hold optimism for one’s future.
Oedipus the King explores pessimistic political truths, with Sophocles portraying the forces controlling the world as deeply corrupted by the power they possess. Laius is portrayed as a tyrannical ruler thirsty for the maintenance of his power, with his ‘wildest fear’ being deposition through murder. His act of ‘fastening [Oedipus] ankles [and] [having] a henchman fling him away’ is described as an attempted ‘[destruction]’ imbuing within the act a political motive. Oedipus’ arrival in Thebes drives significant political optimism, with the city hoping to be ‘put…straight on course’. Oedipus crafts a facade of ‘trust’ that is gradually destroyed by the king’s attempts to maintain power. His rejection of Creon’s suggestion of his being ‘wholly wrong’ is met with a dismissal, reasoning that he ‘must rule’, demonstrating the corruption of the leader. Oedipus ultimately resorts to ‘torture’, forcing the shepherd to ‘talk with pain’ to achieve a goal which ‘defend[s] [him]self’. Sophocles uses nautical imagery to symbolise the unravelling of Oedipus’ leadership, the king mirroring a ‘great helmsman’ tasked to ‘steer…through the storm’. The captain is ultimately engulfed in a ‘black sea of terror’, paralleling the destruction of Oedipus’ benevolent facade. Despite an undercurrent of cruelty, Oedipus’ facade is indeed benevolent, his referring to the priests as ‘[his] children’ initial gesture ‘helping a priest to his feet’, with Sophocles suggesting a kindhearted internal disposition. In the king’s ‘spirit griev[ing] for the city’ and ‘we[eping] through the nights…groping, laboring over many paths of thought’, Sophocles suggests that Oedipus holds a genuine connection with the city, coexisting with his personal desire for power. His successor is portrayed as a ‘[rational]’ response that ultimately falls victim to the seeds of corruption. Creon possesses ‘self-control’ and is a ‘man of sense’, who would rather ‘sleep in peace’ than ‘rule and live with anxiety’. His popularity with ‘all…[his] good friends’ allows for the possibility of political optimism, one that Sophocles neuters through Creon forcefully making Oedipus ‘let go of the children’, suggesting a primitive tendency in the new king to exercise power. In mocking Oedipus for ‘none of [his] power follow[ing] [him] through life’, Creon aligns his personal virtue with royal authority, with Sophocles implying that the new king is already suffering from the corruption of power. The double doors which ‘dominate the facade’ of the royal house are used by the playwright to represent the pessimistic nature of politics, a permanent feature of the royal institution that allows rulers to project an external image of benevolence, yet are internally corrupted due to their authority. Ultimately, Sophocles suggests that rulers are invariably destroyed by the power they possess, and therefore political systems should be treated with very little optimism.
VCE · Text Response
Text Response: “...count no man happy till he dies, free…
VCE Text Response essay scoring 75%: Additionally, Sophocles endorses deterministic ideas, while revealing a lack of moral definitiveness, highlighting…
Additionally, Sophocles endorses deterministic ideas, while revealing a lack of moral definitiveness, highlighting pessimistic philosophical truths. Free will is portrayed as largely an illusion, with man having little control over their destiny. The ‘awful prophecies of the gods’ subjected upon Laius and Oedipus are fulfilled, despite their best efforts, suggesting that ‘the truth with all its power’ lies in prophecy. Sophocles reinforces this through the use of dramatic irony. Oedipus’ misguided assertions that he ‘speak[s]...as a stranger to the story [and] a stranger to the crime’ imbue within the play a sense of divine awareness not shared by the characters, creating an undercurrent of inevitability. Despite the overwhelming power of fate, man indeed holds some agency, observed through Oedipus’ declaration that ‘the hand that struck [his] eyes was [his]’ and ‘[his] alone’. Sophocles suggests that some optimism may be gleaned from an ability to exercise limited free will, however presents it as heavily neutered through the overwhelming power of fate. Indeed, Oedipus is fated to endure ‘darkness shrouding [his] eyes’, proving that despite his self-blinding being an act of choice, it is confined heavily within deterministic frameworks of reality. Sophocles suggests an adoption of fatalism over optimism, endorsing a resolve to ‘watch and wait the final day’ as man is ultimately powerless to make meaningful choice. Morality in Oedipus the King is also presented as deprived of optimism, being
VCE · Text Response
Text Response: “...count no man happy till he dies, free…
VCE Text Response essay scoring 70%: Oedipus the King explores pessimistic political truths, with Sophocles portraying the forces controlling the world…
Oedipus the King explores pessimistic political truths, with Sophocles portraying the forces controlling the world as deeply corrupted by the power they possess. Laius is portrayed as a tyrannical ruler thirsty for the maintenance of his power, with his ‘wildest fear’ being deposition through murder. His act of ‘fastening [Oedipus] ankles [and] [having] a henchman fling him away’ is described as an attempted ‘[destruction]’ imbuing within the act a political motive. Oedipus’ arrival in Thebes drives significant political optimism, with the city hoping to be ‘put…straight on course’. Oedipus crafts a facade of ‘trust’ that is gradually destroyed by the king’s attempts to maintain power. His rejection of Creon’s suggestion of his being ‘wholly wrong’ is met with a dismissal, reasoning that he ‘must rule’, demonstrating the corruption of the leader. Oedipus ultimately resorts to ‘torture’, forcing the shepherd to ‘talk with pain’ to achieve a goal which ‘defend[s] [him]self’. Sophocles uses nautical imagery to symbolise the unravelling of Oedipus’ leadership, the king mirroring a ‘great helmsman’ tasked to ‘steer…through the storm’. The captain is ultimately engulfed in a ‘black sea of terror’, paralleling the destruction of Oedipus’ benevolent facade. Despite an undercurrent of cruelty, Oedipus’ facade
VCE · Text Response
Text Response: “They’re free, they've been taught how to…
VCE Text Response essay scoring 85%: Throughout his memoir, Noah mocks the absurdity of the institutionalized racism which was created through…
Throughout his memoir, Noah mocks the absurdity of the institutionalized racism which was created through apartheid, exploring ways which the disenfranchised endured through these hardships. Noah first begins his memoir with the dedication to “[his] mother” who made “[him] a man”, which is subsequently followed with the Immorality Act of 1927, which “prohibit[ed] illicit carnal intercorse” between the black and white racial groups classified under the Population Registration Act of 1950. Noah utilises these two conflicting statements in his epigraph, alongside a photograph of both him and his mother as a preface to the struggles of those subjugated by these laws, with the clear difference between skin colour within the photograph as evidence to Patricia’s opposition to this law. Consequently, Noah mocks the irony of this apartheid legislation by highlighting that “[races], in a lot of cases, want to mix” simply because “humans being humans and sex being sex”, proving it to be part of the innate human nature. Noah discerns this simple fact to underscore not just the absurdity of the Immorality Act of 1927, but the architecture of apartheid as a whole. Noah’s own life, being “born a crime”, provides stark evidence to this defiance of the law, with his mother outrightly defying the prohibition without any “consider[ation of] any ramifications” of birthing Noah due to her rebellious wit and fearlessness, which led to her “figur[ing] out a way to do it”. Observing his mother’s strength in opposition to the white supremasist regime, Noah highlights the characteristics of his mother, alongside the multitude of other parents of “mixed kids in South Africa”, who were able to find “the cracks in the system” and subsequently, exploit them. He outlines how, despite their child’s birth being “proof of their criminality”, they used the subjective categorisation imposed by the government against itself, and
VCE · Text Response
Text Response: “This is my place. I’m staying right here…
VCE Text Response essay scoring 85%: The contemporary play, “Rainbows End” written by playwright Jane Harrison explores the lives of Indigenous…
The contemporary play, “Rainbows End” written by playwright Jane Harrison explores the lives of Indigenous Australians during the 1950s where Anglo Australians heavily oppressed Indigenous families. Harrison endorses the crucial need of home for Aboriginal Australians as it promotes a sense of belonging establishing deeper connections with one’s culture.
By utilising characterisation, Harrison promotes the significance of home for Aboriginal Australians, where home is not always a physical place but can be established through communal connections. During a dispute between Dolly and Errol, where Errol proposes to they move together for “ a better life” when she says she is “staying right here”. By using characterisation Harrison emphasises the differing perspectives Dolly and Errol have where he embodies the ‘white saviour’ complex without understanding the needs of Dolly and what she truly values as home causing a clash in dynamics. Therefore Harrison critiques the eurocentric ideals that dismiss Indigenous values of family where she argues Anglo-Australians value the materialism of home while Indigenous Australians value the connections and community to establish importance of home due to the constant displacement and dispossession they faced in the 1950s. During the play, Dolly expresses how “a real home is where people look out for each other”. Harrison highlights what Dolly considered as home, where despite their living circumstances at the humpy Dolly valued the community she lived with and how the people she surrounds provides her a sense of home. Harrison celebrates Indigenous Australians for their strong values of community that allowed them to feel belonging within a society which constantly deprived them of resources. Thus, Harrison praises Indigenous families for recognising home does not necessarily need to be a physical place but the community and family can make a place feel at home.
VCE · Text Response
Text Response: In the Memory Police, interpersonal…
VCE Text Response essay scoring 77.5%: In Yoko Ogawa’s The Memory Police, interpersonal connections emerge as a crucial form of resistance, but not as a…
In Yoko Ogawa’s The Memory Police, interpersonal connections emerge as a crucial form of resistance, but not as a simple or triumphant answer to authoritarian control. In a world where collective political opposition has been hollowed out by systematic erasure, bonds of care, memory and collaboration become some of the only remaining spaces where individual humanity can be asserted. Yet Ogawa also underscores the fragility, limitations and potential distortions of these relationships, suggesting that while they may be the strongest resistance available, they are also precarious, ethically complex and ultimately unable to overturn the regime’s power. Overall, the novel invites readers to recognise interpersonal connection as a powerful, if deeply constrained, mode of resisting obliteration.
VCE · Text Response
Text Response: ‘What should a man fear? It’s all chance,…
VCE Text Response essay scoring 87.5%: Chance is an illusion, yet it controls the life of man. In his tragedy, Oedipus the King, Sophocles frames…
Chance is an illusion, yet it controls the life of man. In his tragedy, Oedipus the King, Sophocles frames uncaused events and man’s opportunity for action as merely an illusion, with believing in its existence being highly detrimental. He explores the deterministic metaphysics of the universe, demonstrating how fate conspires to render chance false. He portrays a belief in the falsehood as deeply embedded into society, with negative intellectual and moral repercussions. He ultimately explores the loss of faith in chance, demonstrating why this shift in values is both deeply traumatic and important for the individual.
Chance as a reality is presented by Sophocles as false, rendered largely incompatible with the divine cause of events. The events in Oedipus the King all occur within a largely deterministic lens, highlighted by the gradual revelation of prophecy. In revealing the truth of Laius’ ‘doom [that] would strike him down at the hands of a son’, and Oedipus’ fate ‘to couple with [his] mother…[and] kill [his] father’, Sophocles implies a predetermined cause of events that serves as the mechanism for the prophecies. This implication is made more evident through dramatic irony, in which Oedipus’ obviously misguided assertions that he ‘never saw the man’ and is a ‘stranger to the crime’ repeatedly highlight the existence of pre-established action and therefore imbuing within them a sense of inevitability. Indeed, Sophocles suggests that fate does not entirely preclude uncaused actions, as one may still act with free will. Oedipus’ recognition that ‘the hand that struck [his] eyes was [his]’; a decision belonging to ‘no one else’, reaffirms the protagonist’s punishment as an exercise of internal desire, yet only consummates his preordained downfall of ‘darkness shrouding [his] eyes that now can see the light’. Sophocles adopts a position of soft determinism, in which man does possess individual choice that is heavily restricted by their overarching fate, expanded through the symbol of the ‘place where three roads meet’. The ‘triple crossroad’ simultaneously represents a point of decision and the fulfilment of Delphi’s prophecy, with Oedipus’ choice to ‘[pay] [Laius] back with interest’ trapping him within an inescapable outcome. Ultimately, Sophocles’ deterministic assertions are largely incompatible with chance, with the role of metaphysical randomness rendered largely minute through the overarching power of fate.
VCE · Text Response
Text Response: ‘What should a man fear? It’s all chance,…
VCE Text Response essay scoring 75%: However, the human belief in chance has a significant impact on the life of man, driving detrimental ignorant…
However, the human belief in chance has a significant impact on the life of man, driving detrimental ignorant action and immorality. Laius and Oedipus both attempt to subvert prophecy, ultimately ensuring they are victims of their misguided beliefs. Laius attempts to nullify his prophetic demise through ‘[destroying]’ Oedipus, and the son’s ‘[doom] to couple with [his] mother and cut [his] father down’ is met with fleeing to ‘never see the shame of all those oracles come true’. Both believe they have a chance to avert their fate, however these resulting actions eventually drive their downfall. When hinted at the truth of prophecy by Tiresias, Oedipus is presented as ignorant, telling the ‘insufferable’ seer to ‘vanish’ and accusing Creon of ‘mov[ing] against [him]’. The tensions created by Oedipus with Tiresias and Creon highlight the king’s foolish defence of chance, rejecting Creon’s encouragement to ‘see things calmly [and] rationally’. Sophocles presents concerns
VCE · Text Response
Text Response: ‘What should a man fear? It’s all chance,…
VCE Text Response essay scoring 77.5%: However, the human belief in chance has a significant impact on the life of man, driving detrimental ignorant…
However, the human belief in chance has a significant impact on the life of man, driving detrimental ignorant action and immorality. Laius and Oedipus both attempt to subvert prophecy, ultimately ensuring they are victims of their misguided beliefs. Laius attempts to nullify his prophetic demise through ‘[destroying]’ Oedipus, and the son’s ‘[doom] to couple with [his] mother and cut [his] father down’ is met with fleeing to ‘never see the shame of all those oracles come true’. Both believe they have a chance to avert their fate, however these resulting actions eventually drive their downfall. When hinted at the truth of prophecy by Tiresias, Oedipus is presented as ignorant, telling the ‘insufferable’ seer to ‘vanish’ and accusing Creon for ‘mov[ing] against [him]’. The tensions created by Oedipus with Tiresias and Creon highlight the king’s foolish defence of chance, rejecting Creon’s encouragement to ‘see things calmly [and] rationally’. Sophocles presents concerns regarding the increasingly-popular
VCE · Text Response
Text Response: ‘Ghost Wall explores the human capacity…
VCE Text Response essay scoring 77.5%: Sarah Moss's 2018 novella ‘Ghost Wall’ was written during the time of Brexit and follows the seven-day…
Sarah Moss's 2018 novella ‘Ghost Wall’ was written during the time of Brexit and follows the seven-day experiential archaeology camp in which a reenactment of the British Iron Age is conducted. Moss utilises ‘Ghost Wall’ as an avenue to explore both the mind and the body’s capacity to not just survive, but also to thrive in varying circumstances, ultimately serving as a celebration of the extent of human endurance. Moss depicts humanity's struggle to stay resilient against the power of groupthink. Moreover, Moss explores the vulnerability and strength needed to survive against coercive control as a woman in the patriarchy. Ultimately, Moss uses ‘Ghost Wall’ to explore the depth of the human body's ability to endure suffering.
VCE · Text Response
Text Response: Analyse how Stephen Johnson uses cinematic…
VCE Text Response essay scoring 85%: History has romanticised the great qualities which colonialism entails being noble and courageous, whilst…
History has romanticised the great qualities which colonialism entails being noble and courageous, whilst forgetting of the dark past which follows it. Stephen Johnsons film 'High Ground' breaks the myth, as being a revisionist western it critiques the un-just colonial oppression on Arnhem land which Indigenous people faced, striving away from the balance of 'Makarrata'. Johnson is able to use characters like Moran to be the pinnicle of immoral actions and behaviour to the Yolngu people, following Travis's belief of the 'hero' through his paternalism, and Gutjuk reclaiming his identity. Ultimately Johnson strives for a post colonial Australia to acknowledge their problematic actions to begin a journey to genuine reconciliation