Contents

1. What Is The Creative Response?
2. What Are You Expected To Cover? (Creative Writing Criteria)
3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)
4. LSG's unique REPLICATE and IMAGINE strategy
5. Sample A+ Creative Response
6. Writing The Written Explanation
7. Resources To Help You Prepare For Your Creative Response
   

1. What Is The Creative Response?

The Creative Response, which forms part of the ‘Reading and creating texts’ component of the study design, is part of the 1st Area of Study (AoS 1) - meaning that the majority of students will tackle the Creative Response in Term 1. Unlike the analytical text response, in the Creative Response you will be asked to write your own imaginative piece in response to a selected text. 

You are expected to read and understand the selected text, analyse its key features, and write a creative piece which demonstrates your comprehension of the text.

2. What Are You Expected To Cover? (Creative Writing Criteria)

The creative writing task assesses your ability to combine features of an existing text with your own original ideas. The key intention here is to demonstrate your understanding of the world of the text. You can achieve this by exploring and applying selected elements from the text, such as context, themes, literary devices like symbols, and/or characters. You should also consider the values embedded within the text - this includes explicit values (which can be seen on the surface of the text) and implied values (values we uncover through analysis of the text’s deeper meaning). Try to reflect these values within your writing. 

Your piece will be a creative response, after all, so you should apply the conventions of this style of writing. Firstly, your creative should follow the structure of a beginning, middle, and end. We can also think of this as rising tension, climax, and resolution. Secondly, you should develop an authentic use of language, voice and style to make your writing more engaging and sophisticated. Thirdly, you can use literary devices to build meaning and depth within your piece. As always, your writing should be consistent with the rules of spelling, punctuation, and syntax (that is, written expression) in Standard Australian English.

Part of this assessment is the Written Explanation, which is a chance for you to explain and justify your creative writing choices. Within the Written Explanation, you should reflect on your writing process and analyse your own work. The primary goal here is to explain the links you’ve made to the original text, by considering features like purpose, context, and language. 

Ultimately, to put it simply, you are expected to understand the selected text and demonstrate this in your creative piece. If you're looking to quickly increase your creative skills, watch our incredibly popular video below:

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3. Literary Elements (Characterisation, Themes, Language, Symbolism, Imagery)

Literary elements are different parts of the creative writing equation that ensure your piece is consistent with the expected features of this type of writing. When selecting which literary elements to include in your piece, remember to consider the original text and ensure that your work, while creative, also demonstrates your ability to replicate some of its elements.

Characterisation

As we know, characters are fictionalised people within the world of a creative text. Almost an entire century ago, the English writer E. M. Forster famously introduced the concept of flat and round characters in his 1927 book, ‘Aspects of the Novel’. According to Forster, flat characters can be defined by a single characteristic; in other words, they are two-dimensional. For example, the characters of The Simpsons could arguably all be defined as flat characters; Homer is characterised as a slob, Flanders is defined by his Christian faith, Lisa is stereotyped as the ‘teacher’s pet’, and Bart is portrayed as rebellious. We can define all of these characters as flat because they are labelled to the audience in these two-dimensional ways.

In contrast to this, round characters have multiple characteristics, which brings them closer to seeming like real, human figures. The personality of these characters extends beyond a single attribute. In Harry Potter, Harry himself is a round character because of how much we learn about him over the course of the series. For example, we find out about Harry’s difficult childhood, his personal challenges, his love interests, and we see his personality grow from book to book. 

Whether the characters of your creative are flat or round will depend on their involvement within, and importance to, the storyline of your piece. Generally speaking, however, you should aim for the central character(s) to be round, while any minor characters are likely to be flat. Developing round major characters will ensure that they are realistic and believable. In turn, you’ll be able to better demonstrate your imaginative skills and understanding of the text through these characters. 

Themes

Themes are the key ideas and issues that are relevant to the storyline of a fictional text. We can identify themes by labelling the main areas of meaning within a text and thinking about the messages that emerge throughout the text. To build your understanding of themes within a particular text and to evaluate the themes of your own creative, consider the following questions:

• What is the text really about, beyond superficial elements like plot and character?
• What is the text saying to its reader?
• What are the core idea(s) or issue(s) within the text?
• What idea(s) or issue(s) do the message(s) of the text correspond with?

To return to our example of The Simpsons, we could say that the themes within this sitcom include love and family, neighbourliness, and social class. From episode to episode, The Simpsons comments on these different issues. For example, Marge and Homer’s relationship, with its domestic setting and marital ups and downs, is a core aspect of the Simpsons household. Likewise, family is a major component of not only the Simpsons themselves, but also the broader Springfield community. The interactions between parents and children is evident on Evergreen Terrace with the Simpsons and the Flanders families, as well as in other settings such as Springfield Elementary School (where even an adult Principal Skinner is seen through his relationship with his elderly mother). These broad areas can be identified as the key thematic concerns of the series because each episode centres around these ideas.

Language

Language refers to the way in which a piece of writing is expressed. We can define this as the ‘style’, or ‘tone’, of a text. The words and phrasing chosen by a writer determine how ideas are communicated. Effective language will be appropriate for the world of the text and contribute to the narrative in a meaningful way. There are a number of ways in which a piece of writing can be articulated and you should consider the nature of your piece and the language of the original text when deciding what type of language is most appropriate for your creative.

Dialogue, on the other hand, is an exchange of conversation between characters. Dialogue is often used to provide context to a text, develop its storyline, or offer direct insight into a character’s thoughts, feelings and personality.‍

Symbolism

A symbol can be defined as a thing that represents something else. Symbols are typically material objects that hold abstract meaning. For example, in Harry Potter, Harry’s scar is a symbol of his difficult childhood. Because Harry’s scar causes him pain in Voldemort’s presence, it can also be said that the scar is symbolic of the connection forged between Harry and Voldemort when his attempt to kill Harry failed. As this example suggests, symbols are often associated with the text’s themes - in this case, Harry’s scar relates to the themes of childhood and death. 

The key with symbolism is to connect a particular theme or idea to a physical object. For example, the theme of grief could be portrayed through a photo of someone who has died. Likewise, the theme of change might be represented by a ticking clock, while a character’s clothing could be a symbol of their wealth or status.

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For more literary elements, also known as metalanguage, check out our lists:

Part 1 – Metalanguage Word Bank For Books

Part 2 – Metalanguage Word Bank For Films With Examples

And if that's not enough, you'll also want to check out our How To Write A Killer Creative Study Guide where we unpack these elements in more detail AND analyse imagery, foreshadowing, flash-backs and flash-forwards! 

4. LSG's unique REPLICATE and IMAGINE Strategy

Overview

If we think about the criteria of creative writing, we’ll see that much of this task involves demonstrating your understanding of the text. For this reason, being able to replicate the world of the text will enable you to showcase your understanding and, in turn, to meet the criteria your teacher will be looking for. Let’s consider how you can strengthen your creative by taking the time to understand the text on a meaningful level and reflect this within your writing.

Step 1: Read

Writing a strong creative piece begins with reading. Reading the text (or watching, in the case of a film) is essential to developing an informed creative response. The more closely you read, the more confidently you’ll be able to engage with the important ideas and textual elements necessary to take your creative from good to great. 

While reading the text for the first time, focus on developing your understanding and clarifying any uncertainty. I would recommend taking the time to read a plot summary before beginning on the text - this will allow you to go in with a reasonable idea of what to expect, and also provide a security net to minimise your likelihood of misunderstanding the plot. 

While reading the text once is sufficient, you will benefit from reading it twice. A second reading enables you to take the time to annotate key sections of the text and to further your initial understanding. If you choose to read the text a second time, pay extra attention to the themes and inner-workings of the text. This means reading between the lines and starting to form an analytical understanding of what the text is about, beyond surface ideas like plot and character. 

Annotating the text (or note-taking, in the case of a film) is an important aspect of any academic reading. The key intention is to ensure your annotation approach is as convenient and accessible as possible. To achieve this, I suggest listing the key themes, allocating a different coloured highlighter to each, and colour-coding sections of the text which you think relate to each specific theme. This will give your annotating process more direction compared to the common approach of simply leaving notes in the margin, which may be time-consuming to read over later. 

I would also recommend making the most of coloured tabs - these enable you to immediately see the key sections of the text, rather than flicking through aimlessly. If you can colour-code these tabs according to the same key as your highlighters, you’ll be able to instantly spot which sections correspond with which theme (and trust me, this will come in handy if you decide to replicate these themes in your own creative).

Aside from annotating the text itself, try to ensure that the notes you write are concise - not only will this save you time, but it’ll mean you focus on condensing the key information. In turn, you’ll have less material to sift through later on, giving you the ability to jump straight into planning and drafting your own piece. This video, How to effectively annotate your books for school! and this blog post, How to effectively annotate your texts in VCE will provide you with more helpful strategies to get the most out of annotating.‍

Step 2: Understand the World of the Text

‍Regardless of how many times you read the text, your understanding will be strengthened by seeking out resources to help you think about the text on a deeper level. A good starting point for this is to have a look for LSG blog posts and videos that are about your specific text.

Watching or reading interviews with the author of the text is a fantastic way to hear directly about their intention in writing the text - after all, they are the single most authoritative source on the text. The goal here is to understand the author’s intent (something we’ll expand on in Chapter 8: Strengthening Your Creative) so that you can reflect this within your own writing. Focus on how the author explains certain aspects of their text, as well as any points they make about its context and background. 

Additionally, peer discussions and asking questions in class will help you to further develop your understanding of the text and clarify any uncertainty. Seeing the text from another’s perspective will develop your knowledge beyond a superficial understanding of the text and introduce ideas you may not have otherwise considered.

Remember to take notes as you go - these will be useful to reflect on later.‍

Step 3: Implement Your Understanding‍

Okay, so you’ve taken the time to read and annotate the text, and you’ve sought out external resources to further develop your comprehension. Now we want to apply this understanding within a creative context. Reflect on what you know about the text. Think closely: What have you learnt about its context, characters, and themes? What elements of the text stand out? The goal here is to draw inspiration from the text and begin to think about which aspects of the text you might like to replicate within your creative piece. Begin to put together a shortlist to keep track of your ideas. The aim here is to develop a picture of the parts of the text you might decide to replicate in your own writing. 

Although understanding and replicating the text is important, if we were to only do this, your piece wouldn’t have much creative flair or originality. Here, we’ve taught you the ‘Replicate’ component of this strategy . If you’d like additional information about how to elevate this to an A+ standard AND a comprehensive explanation of the ‘Imagine’ component, check out our How to Write A Killer Creative study guide! ‍

5. Sample A+ Creative Response

Here's a sample excerpt from a creative piece written by Taylah Russell, LSG tutor and 47 study scorer, in response to the short story 'Waiting' in Cate Kennedy's anthology, Like a House on Fire:

"The clinician presses forcefully into my lower abdomen, refusing to stop and accept my reality. The poor thing, deprived of such hopelessness as I, seems to honestly believe that the longer he agonises over finding something, the more likely it is that some form of life will appear. That those horoscopes in those grimy magazines, written by journalists who’ve probably been fired from their former reputable jobs, may actually hold some validity. I place my hands over my eyes, tentatively pressing against my eyelids, turning my surroundings a dark black and blocking the stream of water that has readied itself to spill when the time comes, when that young boy finally gives up and realises that his degree holds no value in providing me with happiness."

As we can see in this paragraph, the writer is replicating certain themes from the original text, such as grief. Additionally, this piece is written from the perspective of the original protagonist, which means that its characters and context are also directly inspired by Kennedy. Ultimately, by carrying across these text elements of theme, character, and context, the writer is able to clearly demonstrate an extensive knowledge of the text, while also showcasing their creativity. To see more of this creative piece as well as another A+ example, check out the How to Write A Killer Creative study guide!

6. Writing The Written Explanation‍

For a detailed overview of the Written Explanation, check out our Written Explanation Explained blog post.‍

7. Resources To Help You Prepare For Your Creative Response

YouTube videos‍

We create general creative writing videos where I explain the method behind this task:‍

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We also create videos that outline ways you can set yourself apart in this assessment:

‍‍Check out our entire YouTube channel (and don't forget to subscribe for regular new videos!).‍

Blog Posts‍

Our awesome team of English high-achievers have written a number of blog posts about creative writing to help you elevate the standard of your work!‍

5-Step Recipe for Creative Writing ‍

How to achieve A+ in creative writing (Reading and Creating)‍

"Creative Response to Text" Ideas‍

Written Explanation - Explained‍

Reading My 10/10 Marked CREATIVE GAT essay‍

VCE Creative Response to Runaway by Alice Munro

VCE English Unit 3, Areas of Study 2: Creating Texts - What Is It?

VCE Creative Writing: How To Structure Your Story

Study Guide‍

And if that isn't enough, I'd highly recommend our How To Write A Killer Creative study guide.

In this study guide, we teach you the unique REPLICATE and IMAGINE strategy, a straightforward and methodical approach to creative writing. The study guide also covers our step-by-step method to guide you through every phase of creative writing (no more not knowing where to start!) AND includes excerpts from multiple A+ creative pieces. Find out more and download a free preview here. 

When it comes to studying a text for the text response section of Year 12 English, what may seem like an obvious point is often overlooked: it is essential to know your text. This doesn’t just mean having read it a few times either – in order to write well on it, a high level of familiarity with the text’s structure, context, themes, and characters is paramount. To read a detailed guide on Text Response, head over to our Ultimate Guide to VCE Text Response.

Authors structure their texts in a certain way for a reason, so it’s important to pick up on how they’ve used this to impart a message or emphasise a point. Additionally, being highly familiar with the plot or order of events will give you a better grasp of narrative and character development.

It’s also a good idea to research the life of the author, as this can sometimes explain why certain elements or events were included in the text. Researching the social and historical setting of your text will further help you to understand characters’ behaviour, and generally gives you a clearer ‘image’ of the text in your mind.

The overarching themes of a text usually only become apparent once you know the text as a whole. Moreover, once you are very familiar with a text, you will find that you can link up events or ideas that seemed unrelated at first, and use them to support your views on the text.

For each character, it is important to understand how they developed, what their key characteristics are and the nature of their relationships with other characters in the text. This is especially crucial since many essay questions are based solely on characters.

With all this said, what methods can you use to get to know your text?

Reading the text itself: while this may seem obvious, it’s important to do it right! Read it for the first time as you would a normal book, then increase the level of detail and intricacy you look for on each consecutive re-read. Making notes, annotating and highlighting as you go is also highly important. If you find reading challenging, try breaking the text down into small sections to read at a time.

Discussion: talk about the text! Nothing develops opinions better than arguing your point with teachers, friends, or parents – whoever is around. Not only does this introduce you to other ways of looking at the text, it helps you to cement your ideas, which will in turn greatly improve your essay writing.

External resources: it’s a good idea to read widely about your text, through other people’s essays, study guides, articles, and reviews. Your teacher may provide you with some of these, but don’t be afraid to search for your own material!

This blog was updated on 23/10/2020.

Contents

1. Summary

2. Historical Context

3. Part 1: Plot

4. Part 1: Quotes and Analysis‍

5. Themes, Motifs, and Key Ideas

6. Character Analysis

7. Structure

8. Sample Essay Topics

9. Essay Topic Breakdown

The Dressmaker is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response.

Summary

Set in Dungatar, a barren wasteland of traditionalism and superstition, isolated amidst the rapidly modernising post-World War II Australia, acclaimed author Rosalie Ham’s gothic novel, The Dressmaker, provides a fascinating window into 1950s Australia. I find it to be one of the most intriguing texts of our time - managing to weave together a historical narrative with humour, wit, and modern-day social concerns regarding patriarchy, class, and the effects of isolation.

The Dressmaker is one of those texts which reinforces why studying English can be so great when you give it a proper chance. This subject isn’t just about studying books and writing essays, it’s also about learning new insight you’ll carry with you throughout your life. Specifically, The Dressmaker offers real insight into some of the most pressing issues that have been around for centuries - how communities respond to crisis, why certain groups are marginalised, and how we should respond to tyranny and intolerance. Ham’s novel is layered with meaning, character development, and a moving plot which really helps us reflect on who we are as people. Not every book can do that - and, seemingly, on a surface level, you wouldn’t expect a novel about fashion and betrayal to do it either. But somehow, it just does, and it’s what makes The Dressmaker one of my favourite books of all time.

Historical Context

Before we move on to looking at The Dressmaker’s plot and delving deep into analysis, it’s really important to understand the main historical context which underpins the novel. By ‘historical context’, all we mean here is the factual background which tells us why Rosalie Ham wrote her novel, and why she chose the particular setting of Dungatar. After all, Dungatar is a fictionalised community, but its references to post-World War II Australia are very real. The main message I want you to take from this section is that understanding 1950s Australia is essential to understanding Dungatar.

Australian Geography and the Great Depression

Before we delve into talking about this historical theme, I’d like to first acknowledge that Australia was colonised against the wishes of its First Nations peoples, and also recognise that sovereignty was never ceded. This discussion broadly reflects the experiences of colonised Australia because that is the frame which Rosalie Ham provides. However, at Lisa’s Study Guides, we acknowledge the traditional owners of the land on which this study guide was written, edited, and published, and pay our respects to elders past, present, and emerging. 

Ham’s fictional setting of Dungatar is a perfect example, as it is placed in the Australian Outback. The ‘Outback’ doesn’t exactly have any borders, so which regions of Australia count as part of the 'outback' will be slightly different from person to person. A general rule to help us understand the Outback is that it is way out in the centre of the country, far away from urban Australia. Its main industry is pastoralism, which refers to the grazing of cattle, sheep, and other species such as goats. This is a tough lifestyle, and as such small towns and a lot of room for livestock is preferable. These communities are often isolated, and don’t really communicate with the outside world unless it’s about trading their livestock into the cities. Isolation tends to create its own culture, practices, and social standards. For Dungatar, we see massive economic divides and strict expectations around the role of men and women. For instance, the McSwineys live in absolute poverty, yet Councilman Evan and his family are relatively wealthy. Most of the women in the town either care for children or stay at home, reflecting the outdated idea that it is the role of the man to work, and the role of the woman to be a homemaker. As much as we can look at these ideas and realise how flawed they are, for Dungatar it is a way of life to which they’ve stuck for decades. Changing this way of life would be dangerous for them because it means they have to completely reconsider the way they live.

Part 1: Plot

• Myrtle Dunnage arrives in Dungatar after many years, seeking to care for her mother Molly Dunnage. 
• Myrtle, who now wishes to be known as Tilly, reconnects with Sergeant Farrat, Dungatar’s eccentric local policeman who is doing his evening lap in the town. He takes Tilly through the town and up ‘The Hill’, which is where Molly lives. 
• While Tilly is caring for Molly, mental and physical illness causes her to believe that Tilly is an outsider who wishes to poison her. Tilly perseveres in order to shower, feed, and clothe the woman, as well as clear out the house.
• The perspective changes to Sergeant Farrat, who is patrolling the town centre a day later. He sees a returned William Beaumont sitting in a car. Moving into Muriel and Alvin Pratt’s General Store, Farrat claims to be buying fabric for his house. Their daughter Gertrude, who is reading a fashion magazine, realises that the material he is buying fits with the latest skirt designs across Australia.
• After learning about Mr Almanac’s pharmacy, the footballers move into Purl and Fred Bundle’s pub. 
• The readers are introduced to the McSwiney family, who with Edward and Mae as the father and mother, have 11 children. They’re said to live in the tip at the edge of town. 
• The following weekend Tilly and Molly leave The Hill to attend the football match played in Dungatar between the two neighbouring towns, Itheca and Winyerp. Lois Pickett and Beula Harridene give her an immediately negative reaction, taking offence when Molly questions whether their cakes are poisoned.
• After getting medicine from Mr. Almanac and his assistant Nancy, Tilly and Molly run into Irma, his sickly wife. Her arthritis makes mobility difficult, and as such she is found sitting on the bank of the river, where she asks Tilly not to let the town know that she had been cooking meals for Molly in Tilly’s absence.
• Nancy and Sister Ruth Dimm are shown to be having a secret relationship in the back of the phone exchange building before the perspective moves back to Buela Harridene, who demands that Sergeant Farrat investigate the McSwiney children for supposedly pelting her roof with stones.
• Tilly sits on the riverbank, remembering her memories and trauma in Dungatar, with the crucial event being when Stewart Pettyman attempted to headbutt Tilly, but she moved out of the way, causing him to ram into a wall, snap his neck and die.
• Marigold and Evan Pettyman are introduced to the audience, with Marigold being a nervous individual who is put to sleep by Evan with pills every night and sexually assaulted.
• Following Dungatar’s victory in the grand finale, which sends frivolity and celebration throughout the town, a package arrives for Tilly. Ruth reads through all its contents after picking its lock whilst Tilly reluctantly meets with Teddy, who continues to visit her. 
• Tilly and Molly visit the Almanacs for dinner, wherein Tilly’s medicine causes Irma’s pain to disappear. Although Mr Almanac is unpleasant – stating that Tilly can never be forgiven for Pettyman’s death – the night moves on, Tilly returns home and is visited by Teddy yet again. 
  

Part 1: Quotes and Analysis‍

“She used to have a lot of falls, which left her with a black eye or a cut lip.”

Here, Ham subtly hints that Irma Almanac’s injuries were not solely due to ‘falls’, as it is also said that once her husband grew old the ‘falls’ progressively ceased. Abuse of women is common in Dungatar, and it is almost expected that women will be subservient to men and do as they demand.

“His new unchecked gingham skirt hung starched and pressed on the wardrobe doorknob behind him.”

Sergeant Farrat subverts social expectations placed upon 1950s men by adoring feminine fashion. However, the fact that he is forced to hide his passion reveals how, in conservative towns such as Dungatar, individuals are forced to suppress their true selves in order to fit in with the broader population. There is no room for individuality or creative expression, as this is seen as a challenge to Dungatar’s social order and the clear separation between the roles of men and women.

“What’s the point of having a law enforcer if he enforces the law according to himself, not the legal law?”

Buela Harridene pretends to care about the enforcement of the law, but her true concern is bending the law to her own will to make those who step outside of their socially defined roles suffer. She is at odds with Sergeant Farrat as he seeks to control the townspeople’s worst instincts, yet people like Buela ensure that vengeance, rumour, and suspicion are still the defining features of Dungatar.

“Well let me tell you if he’s got any queer ideas we’ll all suffer.”

Although this specifically refers to William Beaumont, it alludes to the broader picture that the people of Dungatar believe that any outside ideas fundamentally threaten everything about the way they live. Even before Beaumont has opened his mouth, he is already a threat since he may have witnessed another way of living disconnected from Dungatar’s conservatism.

If you'd like to see the all Chapter plots, their analysis, along with important quotes, then have a look at our The Dressmaker Study Guide.

Themes, Motifs, and Key Ideas

Isolation and Modernisation

One of the central conflicts in The Dressmaker is between the isolated town of Dungatar, and the rapidly modernising surroundings of post-depression 1950s Australia, as we established in Historical Context. Ham uses this dichotomy (meaning when two opposing factors are placed right next to each other) to question whether isolated communities like Dungatar really have a role in the modern world. 

Our clearest indication that Dungatar is not only traditionalistic, but absolutely reviles change and outside influence, is right at the start of the novel, when a train conductor laments that there’s “naught that’s poetic about damn [progress].” Here, we see the overriding contention of Rosalie Ham’s novel - that because a community like Dungatar has been isolated for so long, it has become absolutely committed to maintaining its traditionalism at all costs. There are more symbolic reflections of how stagnant the town has become, such as the fact that Evan Pettyman, the town’s elected Councillor, has been in the role for multiple decades without fail - or that the same teacher who ostracised Tilly as a child, Prudence Dimm, is still in charge of the town’s school. 

Social Class

The Dressmaker speaks extensively about social class. By class, what I mean is the economic and social divisions which determine where people sit in society. For instance, we could say that the British Royals are ‘upper class’, whilst people living paycheque to paycheque and struggling to get by are ‘lower class’. 

It's also important to introduce the notion of a classist society. A classist society is one where all social relations are built on these aforementioned economic and social divides - in other words, everything you do in life, and everything you are able to do, is built on where you sit in the class structure. 

For The Dressmaker, the question then becomes - "how does class relate to Dungatar?" Well, Dungatar is one of the most classist societies around, where societal worth is explicitly based on one’s position in the class structure.

Femininity, Fashion, and Patriarchy

By now, you’ve probably realised that The Dressmaker’s title is significant. Fashion and ‘dressmaking’ are absolutely essential to understanding the life of Tilly Dunnage, and how she interacts with the people of Dungatar. We’ll go into this further, but Ham specifically delves into the power of fashion as a form of expression which empowers people and their femininity, yet she also examines how, in a community like Dungatar, fashion nonetheless ends up being entirely destructive. 

Dungatar and Femininity

The idea of femininity describes, on a basic level, the ability of a woman to express herself independent of any man. Others would describe femininity in more definitive terms, but it’s really in the eyes of the beholder. What’s explicitly clear, however, is  that, in order to suppress femininity, women in Dungatar are repressed and kept under the control of men. Marigold Pettyman is raped by her husband, Evan Pettyman every night, while the “ladies of Dungatar…turn their backs” when they see the Councillor coming - knowing his crimes, but being too afraid to challenge him. Above all else, Dungatar exists within a patriarchal framework, which is one where men hold structural power and authority, and that power relies on keeping women silent and subservient. In such a society, the role of women in Dungatar is vacuous (meaning that they don’t have any real purpose) - they frill about, spread rumours, and otherwise have no set roles other than to be obedient to their husband. 

Fashion as Empowerment

Within this context, Rosalie Ham explores the power of fashion to empower femininity, and, even if it’s in a limited sense, give the patriarchy its first real challenge. Gertrude is a perfect example, as Tilly’s dressmaking sees her eventually transform at her wedding, even though she is initially described as a “good mule” by Sergeant Farrat; symbolically being stripped of her humanity and beauty by being compared to an animal. However, Gertrude becomes the spectacle of the town at her wedding, wearing a “fine silk taffeta gown” and presenting an elegant, empowered image. The townspeople even note that Tilly is an “absolute wizard with fabric and scissors”, and, with the use of the word ‘wizard’, it becomes evident that the women of Dungatar are absolutely unaccustomed to having any form of expression or individuality - a patriarchal standard which Tilly challenges through her work. 

Think also about Sergeant Farrat. Even if he isn’t a woman, he nonetheless is able to embrace his feminine side through fashion. Indeed his “gingham skirt” and secretive love of female fashion is utilised by Ham to demonstrate that, even in a patriarchal settlement like Dungatar, fashion is immensely empowering and important.

Fashion and Destruction

However, as always, Ham elucidates that there too exists a dark side to fashion in a town like Dungatar. Ultimately, the women of Dungatar, in their elegant dresses, end up looking like a “group of European aristocrats’ wives who had somehow lost their way”. What this quote tells us is that, despite a temporary possibility for empowerment, the women of Dungatar did not fundamentally change their identities. As “aristocrats’ wives”, they are still tied to a patriarchal system in which, even if they were better dressed, nothing was ultimately done to overcome their tradition for rumour, suspicion, and ostracising outcasts. Indeed, this becomes most evident at the Social Ball, where, despite wearing Tilly’s dresses, her name is “scrubb[ed] out” from the seating list - symbolically expressing a desire for Tilly’s modernising, urban, outside influence to be removed from Dungatar, even as they simultaneously wear her dresses! 

Character Analysis

Tilly Dunnage 

Tilly, or Myrtle Dunnage, is the protagonist of The Dressmaker, and an acclaimed dressmaker trained in Paris. Analysing Tilly requires an understanding that she believes she is cursed: starting with being exiled from Dungatar after the accidental death of Stewart Pettyman, and then finding her “seven month old” baby Pablo “in his cot...dead”, as well as witnessing the deaths of Teddy and Molly. In her own words, she is “falser than vows made in wine”, and does not personally believe she can be trusted. This pessimistic perspective on life inspires Tilly to adopt an incredibly individualistic understanding of the world; believing that the only way for her to survive is embracing her individual worth and rejecting toxic communities. Indeed, although Tilly initially arrived in Dungatar to care for her mother - a selfless act - the town spiralling into vengeance only confirmed Tilly’s pessimism. Her modern dressmaking ultimately could not change a fundamentally corrupt community predicated on “nothing ever really chang[ing]”, and therefore the maintenance of a culture of rumour and suspicion. Indeed, in “raz[ing Dungatar] to the ground”, Rosalie Ham reminds us that Tilly is an unapologetically individually-focused person, and will not tolerate anyone, or anything, which seeks to make her conform to the status quo and repress her individuality.

Molly Dunnage 

Molly Dunnage is Tilly’s mother, a bedridden, elderly woman whose sickness drives Tilly back into Dungatar. Molly is commonly known as ‘Mad Molly’ by the townspeople, but what this hides is the fact that Molly was not born mentally insane. Rather, after being “tormented” by Evan Pettyman into having his illegitimate child and seeing Tilly exiled from Dungatar, the malicious actions of the community drive her into insanity. Even in her incapacitated and crazed state, Molly holds such love for Tilly that she attempts to stop her engaging with the community, and thus the symbolism of Molly “dismant[ling] her sewing machine entirely” was that, due to her experiences, she did not believe that the people of Dungatar would ever accept Tilly, either as a dressmaker or a person. Molly’s death is ultimately a pivotal event, and awakens Tilly to the fact that only “revenge [could be] our cause”, and thus that Dungatar is fundamentally irredeemable.

Teddy McSwiney 

Teddy McSwiney is the eldest son of the McSwiney family, Dungatar’s poorest residents. Teddy is a unique case, as although he’s a McSwiney, he is noted for being incredibly well-liked in the town - even going so far as to be described by Purl as the town’s “priceless full forward” in Dungatar’s AFL team. Nonetheless, as we discussed under the Social Class theme, Dungatar remains an unashamedly classist society, and as such, despite Teddy being valued in his usefulness as a footy player and the “nice girls lov[ing] him”, he “was a McSwiney” - discounted from the town’s dating scene or any true level of social worth. Teddy becomes essential to the plot when he and Tilly spark a budding romance. Whereas the majority of Dungatar rejects Tilly or refuses to stand against the crowd, Teddy actively seeks to remind Tilly of her worth - saying that he “doesn’t believe in curses”. However, his death after suffocating in a “sorghum mill” reiterates a sad reality in Dungatar; it is always the most vulnerable townspeople who pay the price for classist discrimination, ostracisation, and suspicion. 

Sergeant Farrat 

Sergeant Farrat is one of The Dressmaker’s most interesting characters. On the surface, he’s nothing but a police officer who manages Dungatar. However, Farrat’s position is far more complex than meets the eye - as a police officer, he is entrusted with enforcing the “legal law”, yet must also contain the influence of malicious individuals such as Buela Harradine who would otherwise use the enforcement of that law to spread slander about individuals like the McSwineys, who she considers “bludgers” and “thieves”. Despite Dungatar’s complications, Farrat considers the townspeople “his flock”, and this religious, Christ-like imagery here tells us how he is essentially their protector. Farrat is, in essence, entrusted with preventing the townspeople from destroying themselves (by now, we all know how easily the townspeople slide into hatred and division!). Here’s the interesting thing though - at the same time Sergeant Farrat is protecting Dungatar, he is also personally repressed by its conservative standards. Rosalie Ham establishes Farrat as a man with a love for vibrant, expressive, female fashion, and from his “gingham skirts” which he sews in private to his time spent with Tilly while she sews, Ham demonstrates to us that Dungatar’s conservatism affects everyone. Even though he tries to defend Tilly as the townspeople descend on her after Teddy’s death, Tilly destroys his house along with Dungatar anyway - signalling that, no matter how hard Sergeant Farrat tried to reconcile his position as protector of Dungatar and his own person, the town could not be saved.

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Structure

The Dressmaker is written in the Gothic style, which means it combines romance with death and horror, particularly horror of the emotional kind. The Dressmaker is divided into four sections, each named after a type of fabric Tilly uses in her work. You can use these in your essays to show how important dressmaking and fashion is to the plot’s progression, especially considering each section starts with fabric. The four types are:

1. Gingham

A fabric made from cotton or yarn, with a checkered shape. Gingham is often used as a ‘test fabric’ in designing fashion or for making tablecloths. This gives it a rustic, imperfect feel signifying Tilly’s return to her hometown and complicated past. The name is thought to originate from a Malay word meaning ‘separate’, mirroring Tilly’s feelings of isolation from the rest of Dungatar. In this section of the novel, Sergeant Farrat also buys gingham fabric to secretly make into a skirt, symbolising how the town is still rife with secrets and a disparity between the public and private personas of its inhabitants. 

2. Shantung

A fabric used for bridal gowns. Gertrude is married in this section and her dress, which Tilly makes, is the first instance where the town witnesses her work. Shantung originates from China, matching this notion of exoticism and foreignness which seeing the dress spreads among the townspeople. 

3. Felt

A fabric noted for its ability to be used for a wide variety of purposes. This is the section in which the ball occurs and a variety of Tilly’s dresses are unveiled for the town to see. 

4. Brocade

A richly decorative fabric made with threads of gold and silver. Brocade is used primarily for upholstery, drapery, and costumes. This is a reference to the costumes of Dungatar’s play, the climax of the novel which occurs in this section.

Sample Essay Topics

1. “They looked like a group of European aristocrats’ wives who had somehow lost their way.” Fashion is both liberating and oppressive. Discuss.

2. How does Rosalie Ham represent the power of love throughout The Dressmaker?

3. Gender repression is rife in The Dressmaker. To what extent do you agree?

4. “Damn progress, there’s naught that’s poetic about diesel or electric. Who needs speed?” What is Ham’s essential message about progress in The Dressmaker?

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our The Dressmaker Study Guide to practice writing essays using the analysis you've learnt in this blog!

Essay Topic Breakdown

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

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: Analyse

Step 2: Brainstorm

Step 3: Create a Plan

Theme-Based Prompt: Rosalie Ham’s The Dressmaker condemns fundamentally oppressive communities. Discuss.

Step 1: Analyse

We’ve got a theme-based prompt here, which really calls for your essay to be explicitly focused on the theme at hand. That means that we shouldn’t stray from the idea of ‘oppressive communities’. Keep it as the centre of your essay and look at how events relate to this idea - we’ll break it down more in Step 2 so you can properly explore it.

Because there’s a ‘Discuss’ qualifier added to the end of the prompt, a clear and concise contention is really important. What you’re being asked to do is, again, stick with the topic frame. That means that going for the usual “two agree, one disagree” structure is decent, but I wouldn’t suggest it as the most efficient way to go. Instead, what you’ll see that I do with this essay is ‘discuss’ how the topic is present throughout all three of our arguments.

Step 2: Brainstorm

Let’s start by breaking down the key words of the topic.

We have the idea of an ‘oppressive community’, which refers to communities that are built on marginalising certain individuals so the majority can maintain power. This is quite a clear reference to Dungatar, but expect that most essay questions for The Dressmaker won’t directly reference Tilly or the town, even if they’re quite clearly talking about them. Something for which you should look out – don’t let the wording phase you!

The addition of the word ‘fundamentally’ doesn’t change that much, but what it does tell us is that the essay is asking us to agree that Dungatar is oppressive to its core. In other words, its ‘fundamentals’ are based on oppression. I would not recommend trying to disagree with this basic premise, as it means you’re going against the topic in a ‘Discuss’ prompt which, as we discussed above, isn’t the best option in my view.

Step 3: Create a Plan

One of the most logical ways to approach this topic is a chronological structure. By that, what I mean is following the text in the order events occur; before Tilly’s arrival, during Tilly’s time in Dungatar, and the consequences that arise after they make her an outcast once again.

This way, you can stay on topic and look at how Dungatar is oppressive even before Tilly shows up again, how that ramps up as she establishes her dressmaking business, and what Ham’s final message is on rejecting oppressive communities and embracing individual worth.

If you find this essay breakdown helpful, then you might want to check out our The Dressmaker Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

Resources

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

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

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: Analyse
Step 2: Brainstorm
Step 3: Create 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.’ 

THINK

Step 1: Analyse

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?

Step 2: Brainstorm

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.

Step 3: Create a Plan

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.

EXECUTE

Essay

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. 

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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!!

Last updated 20/10/19

Planning is an essential part of any successful text response essay. It helps you ensure that you’re answering the prompt, utilising enough quotes and writing the most unique and perceptive analysis possible! The hard part of this is that you only have about FIVE MINUTES to plan each essay in the Year 12 English exam… (more info on the best way to tackle that challenge in this video!)

So, I developed the FIVE TYPES of essay prompts to help students streamline their planning process and maximise every minute of their SACs and exams.

By identifying the type of prompt you’re being challenged with immediately, a number of parameters or guidelines are already set in place. For a specific type of prompt, you have specific criteria to meet – for example, in a metalanguage-based prompt, you immediately know that any evidence you brainstorm in your planning stage should be based around the literary techniques used in your given text.

If you’d like the full picture on our best FREE advice on Text Response, check out our Ultimate Guide to VCE Text Response here.

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1. Theme-Based Prompt

‘Ambition in the play Macbeth leads to success.’ Discuss. (Macbeth)

When you’re presented with a theme-based prompt, you can automatically shift your brainstorming and planning towards the themes mentioned in the prompt along with any others that you can link to the core theme in some way.

In regard to this Macbeth prompt, for example, you could explore the different ways the theme of ambition is presented in the text. Additionally, the themes of guilt and power are intimately related to ambition in the text, so you can use those other ideas to aid your brainstorming and get you a step ahead of the rest of the state come exam day.

2. Character-Based Prompt

‘Frankenstein’s hubris is what punishes him.’ Discuss. (Frankenstein)

These prompts are pretty easy to spot – if you see a character’s name in the prompt, there you have it; you have a character-based prompt on your hands.

Once you know this, you can assume that each example you brainstorm has to be relevant to the specific character named in the prompt in some way. Also, you can explore how the actions of characters don’t occur in isolation – they’re almost always interrelated. Remember, however, that the actions of characters are always connected to the themes and ideas the author is trying to convey.

This type of prompt also grants you some freedoms that other types don’t give. For example, unlike a Theme-based prompt, a character-based prompt means that it’s perfectly fine to write about characters in the topic sentences of your body paragraphs.

3. How-Based Prompt

‘How does Grenville showcase Rooke’s inner conflict in The Lieutenant?’ (The Lieutenant)

Unlike other prompts, the ‘How’ positions you to focus more on the author’s writing intentions. This can be achieved by discussing metalanguage – language that describes language (read my blog post about it here). These prompts tell you immediately that you need to be thinking about the literary techniques explored in the text and explain how they affect the narrative.

Rather than using specific techniques to frame your specific arguments, it’s best to use them as evidence to support arguments that attack the main themes/ideas mentioned in the prompt.

4. Metalanguage or Film-Technique-Based Prompt

‘Hitchcock’s use of film techniques offers an unnerving viewing experience’. Discuss. (Rear Window)

This type of prompt is very similar to How-based prompts, specifically in the fact that the discussion of literary techniques is essential.

For this type of prompt specifically, however, the actual techniques used can form more of a basis for your arguments, unlike in How-based prompts.

5. Quote-Based Prompt

“Out, damned spot!” How does Shakespeare explore the burden of a guilty conscience in Macbeth? (Macbeth)

Countless students ask me every year, “What do I do when there’s a quote in the prompt?!” My reply to these questions is actually fairly straightforward!

There are two main things that you should do when presented with this type of prompt. Firstly, contextualise the quote in your essay and try to use it in your analysis in some way. Secondly, interpret the themes and issues addressed in the quote and implement these into your discussion. The best place to do both of these is in a body paragraph – it weaves in seamlessly and allows for a good amount of analysis, among other reasons!

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 about brainstorming, planning, essay structures for Text Response, read our Ultimate Guide to VCE Text Response.

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The Lieutenant 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.

Summary

Grenville’s novel follows the life of protagonist, Lieutenant Daniel Rooke in his journey with the first fleet. Rooke’s primary conflict is his choice between his moral conscience and duty as a soldier. Because he is aware from an early age that he is out of step with the world, he tends to be more reasonable in his way of dealing with conflict. His final response to his inner conflict is to stand strongly by what he believes.

The Lieutenant at its core is a journey of self-discovery as Daniel Rooke navigates the immoral waters of British imperialism and its impact on the indigenous Australians. Becoming closer to Tagaran, Rooke attempts to bridge cultural barriers through the transformative power of language. Rooke observes the scissions created by violence and the perhaps misplaced Western superiority and is perpetually torn between his moral intuitions and his obligations and duty as a Lieutenant.

TIP: Have an understanding of the historical context behind The Lieutenant as well as the real life people that Grenville loosely based her novel off of. This means having a grasp on the first fleet, the British colonisation of Australia and important figures such as Bennelong.

Themes

TIP: I have included some examples from the text but this list is by no means exhaustive, occasionally there is a repetition of examples. It’s important to remember that examples are versatile and can be applied to many different themes and ideas. Feel free to add and explore how other examples might enhance these themes.

Language

Language dictates commonality and communication, yet to Rooke he discovers that central to the power of language is the willingness to cooperate, patience and respect. Throughout Grenville’s novel, however, it is clear that language can not only dispel the lasting vestiges of misunderstanding but it can also form the basis for racism and violence. It is through our language itself that reveals our biases.

The language of racism

• Weymark refers to the Indigenous men during their first encounter as “mister darkie” etc. each a patronising euphemism concealing his arrogant notions of superiority

The limitation of language to accurately portray and convey a moment

• “what had passed between Tagaran and himself had gone far beyond vocabulary or grammatical forms” (pg186)

The language of violence

• “what it said was I can kill you. He did not want her to learn that language. Certainly not from him” (pg224)
• “Violence had an enlivening effect. As long as someone else was the victim it made the blood pump, gave the world an edge of glamour” (pg239)
• “Gamekeeper. He wondered whether that word had killed Brugden” (pg240)
• “The gun is the only language the buggers will understand” (pg241)
• “war was a species of conversation” (pg108)
  

Assumed cultural superiority of British empire

The hierarchical nature of British Society stands in diametric opposition to the community-oriented system employed by the Indigenous Australians. This hierarchy defines their people by their contributions to “Her Majesty” and shames and “punish[es]” all those who fail to comply with the loose morals and violence condoned by the British colonists. This notion is elucidated through the exploitation of the natives and the nations reliance on oppression and servitude to maintain its imperial status, put simply: their strength is an accident arising from the weakness of others. It is on this foundation that Grenville explores the violent treatment of the natives by the British and even their treatment of their own people.

• “In the world of Church Street, Benjamin Rooke was a man of education and standing and a father to be proud of. At the Portsmouth Naval Academy a mile away, he was an embarrassment” (pg6)

• “So we punish…. Every man is the same. If he steals, he is punished… It was interesting to hear that magnificent idea – the product of hundreds of years of British civilisation – spelled out so plain”(pg195)
• This was justice: impartial, blind, noble. The horror of the punishment was the proof of its impartiality. If it did not hurt, it was not justice.” (pg197)
• “By god they are savage… Dirty too, look at the filth on them”
• “they may be savages, we call them savages. But their feelings are no different from ours”
• Weymark resorts to derogatory name calling, urging on “my black friend” and “Mister Darkie” in his base supplications

Power of conscience

The morality that is ingrained in Rooke from the onset aligns quite naturally with our own moral standards. Yet Grenville encourages readers to explore the difficult choice between morals and disobedience. Rooke faces such a choice. To obey an order to accompany an expedition to capture or kill six indigenous men, this forms the central conflict of Grenville’s novel. As elucidated through both Rooke and Gardiner, moral acts that defy the expectations and “orders of Her Majesty” are deeply frowned upon.

• “But Rooke, think: this is not a request, it is an order” (pg246)
• “…spell out the consequences of refusal.” (pg248)
• “… the service of humanity and the service of His Majesty were not congruent” (pg249)
• “I am sorry to have been persuaded to comply with the order. I would not for any reason ever obey a similar order” (pg285)
• “your orders were a most gravely wrong thing, I regret beyond my words my part in the business” (pg285)
  
  

Violence

Violence is central to the operation of imperialists as the British tightens its grip on the Indigenous Australians. Grenville emphasises that the power sought out by the British empire will always come at the expense of the natives. Violence and force are used to assert power, confirm boundaries around usurped land, promulgate fear and discourage resistance. The gun becomes a symbol of the violence and force of the settle and they show little intention of relinquishing the dominant position that the gun affords them.

• The punishment for the mutineers of the Renegade reinforces Rooke’s understanding of institutional power and violence as one lieutenant is hanged in a gruesome spectacle and the others dispatched into a nameless void.
• Weymark is determined to affirm his dominance and establish the white man as a powerful force
• Brugden’s increased freedom with a weapon results in violence towards the natives which culminates in the kidnapping of the two native men who are “grabbed” against their will
• Brugden’s unchecked brutality, and Gilbert’s excessive use of force, highlights the colonialists’ use of violence as a means of achieving their goal

Duty, service, obedience and the military life

Conforming to the pressures of the British Empire, Rooke joins the marines and complicitly serves without attempting to question the morality behind his actions. Importantly, he joins the marines not out of patriotic pride, but because he believes it will aid him to pursue his academic curiosities and steer away from violence. Yet it only brings him closer to the reality that lurks behind the ostensibly moral quest of British imperialism.

Character Analysis

TIP: Whilst The Lieutenant focusses on Rooke’s experiences, you can’t neglect the minor characters in the novel, they are there for a reason! Think about how these characters are similar or different, how their stories contribute to Grenville’s overall message and their relationship with the central protagonist Rooke. ‍

Daniel Rooke

Analysis

• Lieutenant on the first fleet
• Awkward
• Struggles to articulate his thoughts and emotions as he is afraid of being “out of step with the world”
• From a young age, Rooke’s interactions with others has made it clear to him that he is different. As such this dictates his response to conflict: blaming himself or withdrawing. His connection to Tagaran through mutual empathy demonstrates his ability to overcome conflict through mutual respect
• Rooke is bound by duty to Her Majesty yet finds his missions in conflict with his innate instinct for moral righteousness

Supporting quotes

• “quiet, moody, a man of few words”
• “he had no memories other than of being an outsider”
  

Silk

Analysis

• Captain on the first fleet
• Stands in contrast to Rooke in every respect
• Storyteller that is obsessed with his narrative
• Ignores the cruelty and violence of the Imperialist expedition in favour of an interesting story
• Blinding opportunism that undermines his integrity
• His tendency to gloss over the violence committed in the name of Her Majesty reflects his loyalty to the expedition

Supporting quotes

• “man whose narrative was so important to him”
• “a storyteller who could turn the most commonplace event into something entertaining”

Tagaran

Analysis

• Connects with Rooke through their mutual love for learning and language
• Tagaran voluntarily engages with Rooke in his quest to understand their language, this surpasses the clumsy and mandatory lessons imposed on Boinbar and Warungin.

Supporting quotes‍

• “Forthright, ferless, sure of herself, she looked to him like a girl who had already mastered whatever social skills her world might demand”
• “a clever child like Tagaran was the perfect choice: quick to learn, but innocent. Curious, full of questions but only a child”

Gardiner

Analysis

• Gardiner acts as a foil character to both Silk and Rooke, sharing the same trials and tribulations as Rooke however responding differently than Silk
• Rooke’s friendship with Gardiner establishes the grounds for their later discussions on language, the treatment of the natives and the imperialist machine as Gardiner sets an example of the consequences of going against the duties required of him
  

Brugden

Analysis

• Brugden is portrayed as an essential element of colonising and the survival of the British fleet. As an embodiment of violence, Grenville suggests that integral to the operation of imperialism is crude and unwavering violence

• “Brugden, out there in the woods, that powerful chest… He would be an efficient killer”

Supporting quotes

• “Something had happened out there in the woods about which Brudgen was remaining silent”

• “The prisoner, taller than anyone else, his powerful frame half bursting out of its thread bare check shirt…”  

Lancelot Percival James

Analysis

• Family of slave owners, product of the empire
• Rooke’s inability to understand James is symbolic of his values not aligning with that of the British empire. It foreshadows his later conflict with the value of the empire
• James symbolises the derision of the British hierarchy
  

Supporting quotes

• “Gamekeeper! The word suggested the society that Lancelot Percival James had boasted of at the Academy… But New South Wales was no gentleman’s estate… and the gamekeeper was a criminal who had been given a gun” (pg91)

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Interesting Points of Analysis

Silk’s Narrative

• Why is Silk obsessed with documenting the first fleet? What does he seek when he writes?

Rooke’s job as an astronomer

• Initially signing up for the first fleet as an astronomer, Rooke’s job is supposed to be observing comets and stars yet when he arrives he is tasked with a multitude of laborious tasks that hinder his astronomical work. In what ways does this act as a microcosm for the imperialist mission in Australia?

VOCAB: microcosm - a situation or event that encapsulates in miniature the characteristics of something much larger.

Rooke’s life in Antigua

• Why did Grenville include this section? What does it add to Rooke’s journey? Why does Rooke choose to do this?

Third Person Omniscient Narration

• Written from Rooke’s perspective, whose opinion do we hear the least of? And what unique perspective does Grenville’s choice of narrative perspective offer us?

Language

• Grenville’s language reflects Rooke’s love for language. Her choice of imagery reveals Rooke’s way of seeing the world. For example, “crescent of yellow sand like a punctuation mark” accentuates Rooke’s tendency to observe his world as a linguist might and  highlights Rooke’s deep connection with language. Likewise, Rooke’s perception of a gun that speaks a language that “does not require listeners” emphasises his natural tendency to think as a linguist. Grenville does not write in an overly complex, dense or poetic way in order to mirror Rooke’s tendency to view things logically

Setting

How does the setting that Rooke finds himself in mirror or parallel the emotions that he experiences?

• Naval Academy (Portsmouth)

• “just another world that wrenched him out of shape”
• “sucked out of his spirit and left a shell being”
• “closed in on itself”, “narrow”, “squeezed tightly”

• Sydney Cove

• “There is nowhere in the world that I would rather be”(pg97)
• "On the northern shore, high dark prows of headlands hung over the water, the sombre woods pressing down into their own reflections. To the south the land was lower, each bay and promontory shining with the glossy leaves of mangroves. Now and then between them a crescent of yellow sand was like a punctuation mark” (pg89)
  

TIP: Just like the minor characters I mentioned before, meaning and themes come from all aspects of a novel not just plot points and major characters. By including niche examples such as the setting or the narrative perspective, you can demonstrate that you have a really thorough understanding of the text!

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Video Transcription

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This video’s takeaway message focuses on tackling essay prompts that include quotations. The extra quote with the prompt can seem superfluous, but often, they can provide hints about how to tackle or challenge the essay topic. It is there for a reason, and if you are familiar with the quote, I would recommend that you try to incorporate it into your essay!

Before we unpack today’s essay topic, let’s have a look at background information.

Kate Grenville’s The Lieutenant explores the commonality of the human spirit amidst tumultuous conflict during the First Fleet’s arrival in Australia in 1788. Drawing upon the true experiences of William Dawes, a British astronomer and one of the lieutenants to travel with the First Fleet, Grenville crafts a work of fiction inspired by Dawes’ “two little blue notebooks” detailing his growing understanding of the Aboriginal language Gadigal and his conversations and connection with Patyegarang, a young Aboriginal girl.

The ability for two individuals from completely different worlds to transcend their differences in order to share cherished moments and understandings together is exemplified in The Lieutenant, alongside the rife external and internal conflicts which threaten such relationship.

Today’s prompt is:

“But a man could not travel along two different paths.”

How does Grenville explore Rooke’s conflict of conscience in The Lieutenant?

Start off with focusing on the keywords in this prompt, especially the phrases that resonate with you for Steps 1 and 2 of brainstorming (which I have previously covered in other essay topic breakdowns.)

In particular, let’s have a look at the phrase “conflict of conscience” as this captures the essence of the prompt and what you will need to discuss in your essay.  

Conflict of conscience suggests internal conflict, which implies that we will need to consider morality and the concepts of right and wrong, especially when a difficult decision must be made and ‘sides’ need to be taken.  

Conflict itself is a central theme of The Lieutenant, however, it is important to recognise that this topic considers conflict through the narrower lens of ‘conflict of conscience’. This means that in your discussion, the relevance to the prompt is crucial to keep in mind to ensure you are actually answering the question!  

But first, let’s analyse the quote:

“But a man could not travel along two different paths”

This quote alludes to Rooke’s realisation regarding the reality of his identity, not only as Tagaran’s friend or “kamara” but also as a soldier or “Berewalgal". The resignation and recognition of the impossible – that is, for Rooke to continue attempting to appease both ‘sides’ without making critical decisions about who and what he ultimately valued more - is evident in this quote. Hence, this quote refers to the conflict of conscience he experiences and provides us with an insight into not only his character but also conflict itself.

Why is it not possible for a man to travel along two different paths?

What would happen if he tried?  

Why was this realisation important for Rooke, especially for his character and development?

These are the kinds of questions coming to mind upon seeing that quote alone, which all provide hints as to how I might tackle this prompt.  

Now that we have looked at a few ideas related to the question, we’ll now move into potential paragraphs for this essay.

Paragraph 1: Grenville’s utilisation of Rooke’s perspective in detailing his thought processes, observations and realisations reveals the facets of Rooke’s character contributing to his internal conflicts.

Remembering this is a ‘how’ prompt, we want to be analysing ways in which Grenville explores Rooke’s conflict of conscience. In this paragraph, I have chosen to focus on the raw and intimate expression of his inner thoughts and consciousness as the ‘how’ aspect.  

The detailed perspective reveals Rooke’s naivety in assuming the possibility of maintaining a peaceful connection with Tagaran and the Aboriginal community amidst turbulent and violent times. Consequently, it highlights his realisations regarding the morality of the conflicts he is involved in, and how despite one’s admirable intentions, “a man could not travel along two different paths” without facing dire consequences for their actions.  

Questions I might ask myself here include: why does Rooke initially try to deny the reality of his situation? What does his preference for a peaceful and accepting approach towards the Indigenous Australians suggest about his approach to conflict?

This cognitive dissonance ultimately contributes to his internal conflict between the value he places in his connections with Tagaran and her community and in his duties and obligations as a lieutenant. As readers, we come to realise the duality of this conflict in Rooke’s mind through the limited omniscient third person perspective, which provides us with an insight into Rooke’s shifting understandings of Indigenous people, conflict and even himself.  

I would then continue unpacking these changing understandings, especially ones relevant to his character which reveal his internal conflicts further. ‍

Paragraph 2: In addition, the stark contrast between Rooke’s approach to his conflict of conscience and other soldiers’ approaches underscores the rationale behind his actions and the stakes ineluctably linked with his choices and morality.  

This paragraph’s analysis revolves around Grenville’s inclusion of a host of different characters and outlooks - from Indigenous Australians to intransigent Colonial perspectives. I would emphasise the importance of juxtaposition between these different perspectives as it elucidates the values and beliefs underpinning each individual’s choices, especially during conflict.  

Although the core of the essay discusses internal conflicts, highlighting the connection between internal and external conflict would add another layer of complexity to your essay. Rooke’s conflict of conscience results in his permanent departure from Australia, and fleshing out the ramifications of dissent and opposition towards other Colonials is key in demonstrating your understanding of the complex and intertwined nature of conflict.

Paragraph 3: Through the detrimental implications of Rooke’s initial conflict avoidance, Grenville’s focus on his subsequent self-awareness to unite his morals and his actions highlights the strength of his character to resolve his internal conflicts to prevent further perpetration of injustice towards the Aboriginal population.  

Here, I am having a closer look at how Rooke's encounters with his conflicts of conscience and the repercussions of his actions in attempting to take a ‘middle-ground’ stance catalyse his development as an individual - in particular, how it solidifies his moral stance and his decision to act in a manner that reflects his beliefs.  

By showing Tagaran how to load the gun but not how to fire it, or by accepting the navigator role but distancing oneself from the group, he endeavours to avoid conflict with either ‘side’. However, passivity is a stance within itself, and in the case of the treatment towards Indigenous Australians, Rooke’s silence in not rejecting the actions of other “Berewalgal” inevitably enables injustice to continue.  

It is only through his understanding that non-committal actions also incriminate him as a perpetrator that his choice to sacrifice his Colonial obligations for taking an active stance to fulfil his moral obligations comes to light. This reveals the role that internal conflicts may have in inciting powerful change and realisations in an individual.  

The complexity of internal conflict can be difficult to discuss, but by using the quote provided in the prompt and asking yourself questions about the implications of the quote, we are able to delve into and construct a sophisticated understanding of The Lieutenant and of conflict itself.

LSG-curated sample essay topics for The Lieutenant

Now it's your turn! Here's a list of essay topics for your studies:

1. The Lieutenant demonstrates how an individual's true self emerges in the face of conflict.' Discuss.
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2. 'The Lieutenant shows the catalysts for miscommunication and misunderstanding between the First Fleet and the local Aboriginal population.'
   Discuss.
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3. 'The Lieutenant presents a society where sustained, amicable relations between the "Berewalgal" and the Aboriginal population were impossible.'
   Do you agree?
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4. “But a man could not travel along two different paths.”
   How is Rooke's conflict of conscience explored in The Lieutenant?
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5. 'Rooke's own differences furthered his understanding of and connection with Tagaran.' Discuss.
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6. "You did not learn a language without entering into a relationship with the people who spoke it with you."
   How is this concept explored in The Lieutenant?
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7. "The intention of evil was there which is all that God see when he looks into our hearts." 'Grenville explores the importance of intention over action in The Lieutenant.'
   Discuss.
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8. Why are Rooke's realisations about and outlook on the world an anomaly?
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9. 'The Lieutenant explores how social change can only happen with dissent and non-conformity.'
   To what extent do you agree?
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10. How does Grenville construct morality in The Lieutenant?
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11. 'Rooke discovers that exploration of the self is crucial in shaping one's sense of identity.' Discuss.
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12. 'It is easier to resist change than to enable it.' How does The Lieutenant demonstrate this idea?
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13. 'In The Lieutenant, it is the individual who determines what is possible and what is impossible.' Discuss.
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14. "If he were to go back to that night on the sand of Botany Bay, would he make the same choice again, knowing that this was where it would lead him...?"
    How does Grenville explore how and why difficult choices are made?
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15. 'Intransigence and a sense of superiority ultimately prevent unity in New South Wales.' Do you agree?

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8. Resources

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