read the two essays below and try to distinguish

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Comparing and Contrasting in an Essay | Tips & Examples

Published on August 6, 2020 by Jack Caulfield . Revised on July 23, 2023.

Comparing and contrasting is an important skill in academic writing . It involves taking two or more subjects and analyzing the differences and similarities between them.

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Table of contents

When should i compare and contrast, making effective comparisons, comparing and contrasting as a brainstorming tool, structuring your comparisons, other interesting articles, frequently asked questions about comparing and contrasting.

Many assignments will invite you to make comparisons quite explicitly, as in these prompts.

• Compare the treatment of the theme of beauty in the poetry of William Wordsworth and John Keats.
• Compare and contrast in-class and distance learning. What are the advantages and disadvantages of each approach?

Some other prompts may not directly ask you to compare and contrast, but present you with a topic where comparing and contrasting could be a good approach.

One way to approach this essay might be to contrast the situation before the Great Depression with the situation during it, to highlight how large a difference it made.

Comparing and contrasting is also used in all kinds of academic contexts where it’s not explicitly prompted. For example, a literature review involves comparing and contrasting different studies on your topic, and an argumentative essay may involve weighing up the pros and cons of different arguments.

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As the name suggests, comparing and contrasting is about identifying both similarities and differences. You might focus on contrasting quite different subjects or comparing subjects with a lot in common—but there must be some grounds for comparison in the first place.

For example, you might contrast French society before and after the French Revolution; you’d likely find many differences, but there would be a valid basis for comparison. However, if you contrasted pre-revolutionary France with Han-dynasty China, your reader might wonder why you chose to compare these two societies.

This is why it’s important to clarify the point of your comparisons by writing a focused thesis statement . Every element of an essay should serve your central argument in some way. Consider what you’re trying to accomplish with any comparisons you make, and be sure to make this clear to the reader.

Comparing and contrasting can be a useful tool to help organize your thoughts before you begin writing any type of academic text. You might use it to compare different theories and approaches you’ve encountered in your preliminary research, for example.

Let’s say your research involves the competing psychological approaches of behaviorism and cognitive psychology. You might make a table to summarize the key differences between them.

Or say you’re writing about the major global conflicts of the twentieth century. You might visualize the key similarities and differences in a Venn diagram.

These visualizations wouldn’t make it into your actual writing, so they don’t have to be very formal in terms of phrasing or presentation. The point of comparing and contrasting at this stage is to help you organize and shape your ideas to aid you in structuring your arguments.

When comparing and contrasting in an essay, there are two main ways to structure your comparisons: the alternating method and the block method.

The alternating method

In the alternating method, you structure your text according to what aspect you’re comparing. You cover both your subjects side by side in terms of a specific point of comparison. Your text is structured like this:

Mouse over the example paragraph below to see how this approach works.

One challenge teachers face is identifying and assisting students who are struggling without disrupting the rest of the class. In a traditional classroom environment, the teacher can easily identify when a student is struggling based on their demeanor in class or simply by regularly checking on students during exercises. They can then offer assistance quietly during the exercise or discuss it further after class. Meanwhile, in a Zoom-based class, the lack of physical presence makes it more difficult to pay attention to individual students’ responses and notice frustrations, and there is less flexibility to speak with students privately to offer assistance. In this case, therefore, the traditional classroom environment holds the advantage, although it appears likely that aiding students in a virtual classroom environment will become easier as the technology, and teachers’ familiarity with it, improves.

The block method

In the block method, you cover each of the overall subjects you’re comparing in a block. You say everything you have to say about your first subject, then discuss your second subject, making comparisons and contrasts back to the things you’ve already said about the first. Your text is structured like this:

• Point of comparison A
• Point of comparison B

The most commonly cited advantage of distance learning is the flexibility and accessibility it offers. Rather than being required to travel to a specific location every week (and to live near enough to feasibly do so), students can participate from anywhere with an internet connection. This allows not only for a wider geographical spread of students but for the possibility of studying while travelling. However, distance learning presents its own accessibility challenges; not all students have a stable internet connection and a computer or other device with which to participate in online classes, and less technologically literate students and teachers may struggle with the technical aspects of class participation. Furthermore, discomfort and distractions can hinder an individual student’s ability to engage with the class from home, creating divergent learning experiences for different students. Distance learning, then, seems to improve accessibility in some ways while representing a step backwards in others.

Note that these two methods can be combined; these two example paragraphs could both be part of the same essay, but it’s wise to use an essay outline to plan out which approach you’re taking in each paragraph.

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Some essay prompts include the keywords “compare” and/or “contrast.” In these cases, an essay structured around comparing and contrasting is the appropriate response.

Comparing and contrasting is also a useful approach in all kinds of academic writing : You might compare different studies in a literature review , weigh up different arguments in an argumentative essay , or consider different theoretical approaches in a theoretical framework .

Your subjects might be very different or quite similar, but it’s important that there be meaningful grounds for comparison . You can probably describe many differences between a cat and a bicycle, but there isn’t really any connection between them to justify the comparison.

You’ll have to write a thesis statement explaining the central point you want to make in your essay , so be sure to know in advance what connects your subjects and makes them worth comparing.

Comparisons in essays are generally structured in one of two ways:

• The alternating method, where you compare your subjects side by side according to one specific aspect at a time.
• The block method, where you cover each subject separately in its entirety.

It’s also possible to combine both methods, for example by writing a full paragraph on each of your topics and then a final paragraph contrasting the two according to a specific metric.

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Essay Papers Writing Online

A comprehensive guide to crafting a successful comparison essay.

Comparison essays are a common assignment in academic settings, requiring students to analyze and contrast two or more subjects, concepts, or ideas. Writing a comparison essay can be challenging, but with the right approach and guidance, you can craft a compelling and informative piece of writing.

In this comprehensive guide, we will provide you with valuable tips and examples to help you master the art of comparison essay writing. Whether you’re comparing two literary works, historical events, scientific theories, or any other topics, this guide will equip you with the tools and strategies needed to create a well-structured and persuasive essay.

From choosing a suitable topic and developing a strong thesis statement to organizing your arguments and incorporating effective evidence, this guide will walk you through each step of the writing process. By following the advice and examples provided here, you’ll be able to produce a top-notch comparison essay that showcases your analytical skills and critical thinking abilities.

Understanding the Basics

Before diving into writing a comparison essay, it’s essential to understand the basics of comparison writing. A comparison essay, also known as a comparative essay, requires you to analyze two or more subjects by highlighting their similarities and differences. This type of essay aims to show how these subjects are similar or different in various aspects.

When writing a comparison essay, you should have a clear thesis statement that identifies the subjects you are comparing and the main points of comparison. It’s essential to structure your essay effectively by organizing your ideas logically. You can use different methods of organization, such as the block method or point-by-point method, to present your comparisons.

Additionally, make sure to include evidence and examples to support your comparisons. Use specific details and examples to strengthen your arguments and clarify the similarities and differences between the subjects. Lastly, remember to provide a strong conclusion that summarizes your main points and reinforces the significance of your comparison.

Choosing a Topic for Comparison Essay

When selecting a topic for your comparison essay, it’s essential to choose two subjects that have some similarities and differences to explore. You can compare two books, two movies, two historical figures, two theories, or any other pair of related subjects.

Consider selecting topics that interest you or that you are familiar with to make the writing process more engaging and manageable. Additionally, ensure that the subjects you choose are suitable for comparison and have enough material for analysis.

It’s also helpful to brainstorm ideas and create a list of potential topics before making a final decision. Once you have a few options in mind, evaluate them based on the relevance of the comparison, the availability of credible sources, and your own interest in the subjects.

Remember that a well-chosen topic is one of the keys to writing a successful comparison essay, so take your time to select subjects that will allow you to explore meaningful connections and differences in a compelling way.

Finding the Right Pairing

When writing a comparison essay, it’s crucial to find the right pairing of subjects to compare. Choose subjects that have enough similarities and differences to make a meaningful comparison. Consider the audience and purpose of your essay to determine what pairing will be most effective.

Look for subjects that you are passionate about or have a deep understanding of. This will make the writing process easier and more engaging. Additionally, consider choosing subjects that are relevant and timely, as this will make your essay more interesting to readers.

Don’t be afraid to think outside the box when finding the right pairing. Sometimes unexpected combinations can lead to the most compelling comparisons. Conduct thorough research on both subjects to ensure you have enough material to work with and present a balanced comparison.

Structuring Your Comparison Essay

When writing a comparison essay, it is essential to organize your ideas in a clear and logical manner. One effective way to structure your essay is to use a point-by-point comparison or a block comparison format.

Whichever format you choose, make sure to introduce your subjects, present your points of comparison, provide evidence or examples to support your comparisons, and conclude by summarizing the main points and highlighting the significance of your comparison.

Creating a Clear Outline

Before you start writing your comparison essay, it’s essential to create a clear outline. An outline serves as a roadmap that helps you stay organized and focused throughout the writing process. Here are some steps to create an effective outline:

1. Identify the subjects of comparison: Start by determining the two subjects you will be comparing in your essay. Make sure they have enough similarities and differences to make a meaningful comparison.

2. Brainstorm key points: Once you have chosen the subjects, brainstorm the key points you want to compare and contrast. These could include characteristics, features, themes, or arguments related to each subject.

3. Organize your points: Arrange your key points in a logical order. You can choose to compare similar points side by side or alternate between the two subjects to highlight differences.

4. Develop a thesis statement: Based on your key points, develop a clear thesis statement that states the main purpose of your comparison essay. This statement should guide the rest of your writing and provide a clear direction for your argument.

5. Create a structure: Divide your essay into introduction, body paragraphs, and conclusion. Each section should serve a specific purpose and contribute to the overall coherence of your essay.

By creating a clear outline, you can ensure that your comparison essay flows smoothly and effectively communicates your ideas to the reader.

Engaging the Reader

When writing a comparison essay, it is crucial to engage the reader right from the beginning. You want to hook their attention and make them want to keep reading. Here are some tips to engage your reader:

• Start with a strong opening statement or question that entices the reader to continue reading.
• Use vivid language and descriptive imagery to paint a clear picture in the reader’s mind.
• Provide interesting facts or statistics that pique the reader’s curiosity.
• Create a compelling thesis statement that outlines the purpose of your comparison essay.

By engaging the reader from the start, you set the stage for a successful and impactful comparison essay that keeps the reader engaged until the very end.

Point-by-Point vs Block Method

When writing a comparison essay, you have two main options for structuring your content: the point-by-point method and the block method. Each method has its own advantages and may be more suitable depending on the type of comparison you are making.

• Point-by-Point Method: This method involves discussing one point of comparison at a time between the two subjects. You will go back and forth between the subjects, highlighting similarities and differences for each point. This method allows for a more detailed and nuanced analysis of the subjects.
• Block Method: In contrast, the block method involves discussing all the points related to one subject first, followed by all the points related to the second subject. This method provides a more straightforward and organized comparison but may not delve as deeply into the individual points of comparison.

Ultimately, the choice between the point-by-point and block methods depends on the complexity of your comparison and the level of detail you want to explore. Experiment with both methods to see which one best suits your writing style and the specific requirements of your comparison essay.

Selecting the Best Approach

When it comes to writing a comparison essay, selecting the best approach is crucial to ensure a successful and effective comparison. There are several approaches you can take when comparing two subjects, including the block method and the point-by-point method.

The block method: This approach involves discussing all the similarities and differences of one subject first, followed by a thorough discussion of the second subject. This method is useful when the two subjects being compared are quite different or when the reader may not be familiar with one of the subjects.

The point-by-point method: This approach involves alternating between discussing the similarities and differences of the two subjects in each paragraph. This method allows for a more in-depth comparison of specific points and is often preferred when the two subjects have many similarities and differences.

Before selecting an approach, consider the nature of the subjects being compared and the purpose of your comparison essay. Choose the approach that will best serve your purpose and allow for a clear, organized, and engaging comparison.

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Comparing and Contrasting

What this handout is about.

This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”

Introduction

In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.

Recognizing comparison/contrast in assignments

Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:

• Compare and contrast Frye’s and Bartky’s accounts of oppression.
• Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
• Contrast Wordsworth and Coleridge; what are the major differences in their poetry?

Notice that some topics ask only for comparison, others only for contrast, and others for both.

But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:

• Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
• How do the different authors we have studied so far define and describe oppression?
• Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
• In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?

You may want to check out our handout on understanding assignments for additional tips.

Using comparison/contrast for all kinds of writing projects

Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.

Discovering similarities and differences

Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:

To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered.

Here’s an example, this time using three pizza places:

As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?

Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.

Two historical periods or events

• When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant?
• What kinds of work did people do? What kinds of relationships did they have? What did they value?
• What kinds of governments were there? Who were important people involved?
• What caused events in these periods, and what consequences did they have later on?

Two ideas or theories

• What are they about?
• Did they originate at some particular time?
• Who created them? Who uses or defends them?
• What is the central focus, claim, or goal of each? What conclusions do they offer?
• How are they applied to situations/people/things/etc.?
• Which seems more plausible to you, and why? How broad is their scope?
• What kind of evidence is usually offered for them?

Two pieces of writing or art

• What are their titles? What do they describe or depict?
• What is their tone or mood? What is their form?
• Who created them? When were they created? Why do you think they were created as they were? What themes do they address?
• Do you think one is of higher quality or greater merit than the other(s)—and if so, why?
• For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
• Where are they from? How old are they? What is the gender, race, class, etc. of each?
• What, if anything, are they known for? Do they have any relationship to each other?
• What are they like? What did/do they do? What do they believe? Why are they interesting?
• What stands out most about each of them?

Deciding what to focus on

By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:

• What’s relevant to the assignment?
• What’s relevant to the course?
• What’s interesting and informative?
• What matters to the argument you are going to make?
• What’s basic or central (and needs to be mentioned even if obvious)?
• Overall, what’s more important—the similarities or the differences?

Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Caslon type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.

Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.

Your thesis

The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so they don’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”

Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:

Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.

You may find our handout on constructing thesis statements useful at this stage.

Organizing your paper

There are many different ways to organize a comparison/contrast essay. Here are two:

Subject-by-subject

Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.

The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.

A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.

Point-by-point

Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.

If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.

There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.

Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.

Cue words and other tips

To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help them out with some extra cues. The following words may be helpful to you in signaling your intentions:

• like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.

For example, you might have a topic sentence like one of these:

• Compared to Pepper’s, Amante is quiet.
• Like Amante, Pepper’s offers fresh garlic as a topping.
• Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Comparing and Contrasting: A Guide to Improve Your Essays

By Walter Akolo

Essays that require you to compare and contrast two or more subjects, ideas, places, or items are common.

They call for you to highlight the key similarities (compare) and differences (contrast) between them.

This guide contains all the information you need to become better at writing comparing and contrasting essays.

This includes: how to structure your essay, how to decide on the content, and some examples of essay questions.

Let’s dive in.

What Is Comparing and Contrasting?

Is compare and contrast the same as similarities and differences, what is the purpose of comparing and contrasting, can you compare and contrast any two items, how do you compare and contrast in writing, what are some comparing and contrasting techniques, how do you compare and contrast in college level writing, the four essentials of compare and contrast essays, what can you learn from a compare and contrast essay.

At their most basic, both comparing and contrasting base their evaluation on two or more subjects that share a connection.

The subjects could have similar characteristics, features, or foundations.

But while a comparison discusses the similarities of the two subjects, e.g. a banana and a watermelon are both fruit, contrasting highlights how the subjects or items differ from each other, e.g. a watermelon is around 10 times larger than a banana.

Any question that you are asked in education will have a variety of interesting comparisons and deductions that you can make.

Compare is the same as similarities.

Contrast is the same as differences.

This is because comparing identifies the likeness between two subjects, items, or categories, while contrasting recognizes disparities between them.

When you compare things, you represent them regarding their similarity, but when you contrast things, you define them in reference to their differences.

As a result, if you are asked to discuss the similarities and differences between two subjects, you can take an identical approach to if you are writing a compare and contrast essay.

In writing, the purpose of comparing and contrasting is to highlight subtle but important differences or similarities that might not be immediately obvious.

By illustrating the differences between elements in a similar category, you help heighten readers’ understanding of the subject or topic of discussion.

For instance, you might choose to compare and contrast red wine and white wine by pointing out the subtle differences. One of these differences is that red wine is best served at room temperature while white is best served chilled.

Also, comparing and contrasting helps to make abstract ideas more definite and minimizes the confusion that might exist between two related concepts.

Can Comparing and Contrasting Be Useful Outside of Academia?

Comparing enables you to see the pros and cons, allowing you to have a better understanding of the things under discussion. In an essay, this helps you demonstrate that you understand the nuances of your topic enough to draw meaningful conclusions from them.

Let's use a real-word example to see the benefits. Imagine you're contrasting two dresses you could buy. You might think:

• Dress A is purple, my favorite color, but it has a difficult zip and is practically impossible to match a jacket to.
• Dress B is more expensive but I already have a suitable pair of shoes and jacket and it is easier to move in.

You're linking the qualities of each dress to the context of the decision you're making. This is the same for your essay. Your comparison and contrast points will be in relation to the question you need to answer.

Comparing and contrasting is only a useful technique when applied to two related concepts.

To effectively compare two or more things, they must feature characteristics similar enough to warrant comparison.

In addition to this they must also feature a similarity that generates an interesting discussion. But what do I mean by “interesting” here?

Let’s look at two concepts, the Magna Carta and my third grade poetry competition entry.

They are both text, written on paper by a person so they fulfil the first requirement, they have a similarity. But this comparison clearly would not fulfil the second requirement, you would not be able to draw any interesting conclusions.

However, if we compare the Magna Carta to the Bill of Rights, you would be able to come to some very interesting conclusions concerning the history of world politics.

To write a good compare and contrast essay, it’s best to pick two or more topics that share a meaningful connection .

The aim of the essay would be to show the subtle differences or unforeseen similarities.

By highlighting the distinctions between elements in a similar category you can increase your readers’ understanding.

Alternatively, you could choose to focus on a comparison between two subjects that initially appear unrelated.

The more dissimilar they seem, the more interesting the comparison essay will turn out.

For instance, you could compare and contrast professional rugby players with marathon runners.

Can You Compare and Contrast in an Essay That Does Not Specifically Require It?

As a writer, you can employ comparing and contrasting techniques in your writing, particularly when looking for ideas you can later apply in your argument.

You can do this even when the comparison or contrast is not a requirement for the topic or argument you are presenting. Doing so could enable you to build your evaluation and develop a stronger argument.

Note that the similarities and differences you come up with might not even show up in the final draft.

While the use of compare and contrast can be neutral, you can also use it to highlight one option under discussion. When used this way, you can influence the perceived advantages of your preferred option.

As a writing style, comparing and contrasting can encompass an entire essay. However, it could also appear in some select paragraphs within the essay, where making some comparisons serves to better illustrate a point.

What Should You Do First?

Before you compare two things, always start by deciding on the reason for your comparison, then outline the criteria you will use to compare them.

Words and phrases commonly used for comparison include:

In writing, these words and phrases are called transitions . They help readers to understand or make the connection between sentences, paragraphs, and ideas.

Without transition words writing can feel clumsy and disjointed making it difficult to read. ProWritingAid’s transition report highlights all of a documents transitions and suggests that 25% of any sentences in a piece include a transition.

Sign up for a free ProWritingAid account to use the Transitions Report.

So, how do you form all of this into a coherent essay? It's a good idea to plan first, then decide what your paragraph layout will look like.

Venn diagrams are useful tool to start generating ideas. The, for your essay, you need to choose between going idea by idea and going point by point.

Using a Venn Diagram

A Venn diagram helps you to clearly see the similarities and differences between multiple objects, things, or subjects.

The writing tool comprises two, or more, simple, overlapping circles in which you list down the things that are alike (within the overlapping area) and those that differ (outside the overlapping area).

It’s great for brainstorming ideas and for creating your essay’s outline. You could even use it in an exam setting because it is quick and simple.

Going Subject by Subject

Going subject by subject is a structural choice for your essay.

Start by saying all you have to say on the first subject, then proceed to do the same about the second subject.

Depending on the length of your essay, you can fit the points about each subject into one paragraph or have several sections per each subject, ending with a conclusion.

This method is best for short essays on simple topics. Most university-level essays will go point by point instead.

Going Point by Point

Going point by point, or alternating, is the opposite essay structure from going subject by subject. This is ideal when you want to do more direct comparing and contrasting. It entails discussing one comparison point at a time. It allows you to use a paragraph to talk about how a certain comparing/contrasting point relates to the subjects or items you are discussing.

Alternatively, if you have lots of details about the subject, you might decide to use a paragraph for each point.

An academic compare and contrast essay looks at two or more subjects, ideas, people, or objects, compares their likeness, and contrasts their differences.

It’s an informative essay that provides insights on what is similar and different between the two items.

Depending on the essay’s instructions, you can focus solely on comparing or contrasting, or a combination of the two.

Examples of College Level Compare and Contrast Essay Questions

Here are eleven examples of compare and contrast essay questions that you might encounter at university:

• Archaeology: Compare and contrast the skulls of homo habilis, homo erectus, and homo sapiens.
• Art: Compare and contrast the working styles of any two Neoclassic artists.
• Astrophysics: Compare and contrast the chemical composition of Venus and Neptune.
• Biology: Compare and contrast the theories of Lamarck and Darwin.
• Business: Compare and contrast 2 or more business models within the agricultural industry.
• Creative writing: Compare and contrast free indirect discourse with epistolary styles.
• English Literature: Compare and contrast William Wordsworth with Robert Browning.
• Geography: Compare and contrast the benefit of solar panels with the benefit of wind turbines.
• History: Compare and contrast WWI to WWII with specific reference to the causes and outcomes.
• Medicine: Compare and contrast England’s health service with America’s health service.
• Psychology: Compare and contrast the behaviorist theory with the psychodynamic theory.

So, the key takeaways to keep in mind are:

Have a basis for comparison. The two things need to have enough in common to justify a discussion about their similarities and disparities.

Don’t go back and forth when using the block method. The best way to write your essay is to begin with a paragraph discussing all the facets of the first topic. Then, move on to another paragraph and talk through all the aspects of the second subject.

You can use both alternating and blocking techniques. Combining the two approaches is also an option. You can apply the alternating method in some paragraphs, then switch and use the block method. This method will help you offer a much deeper analysis of the subjects.

Have a reason for comparing the two things. Only select the points of comparison that resonate with your purpose.

Comparing and contrasting are essential analytical skills in academic writing. When your professor issues you with such an essay, their primary goal is to teach you how to:

• Engage in critical thinking
• See and make connections between words or ideas
• Move beyond mere descriptions or summaries to developing interesting analysis
• Get a deeper understanding of the subjects or items under comparison, their key features, and their interrelationships with each other.

Ultimately, your essay should enlighten readers by providing useful information.

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It's a typical Saturday at the mall. You're trying on new jeans. Let's see, slim cut or relaxed fit? Stone washed or dark? At work on Monday your boss asks you to research and recommend a notebook computer for the entire sales staff--by Friday. That night in criminal justice class, you're reminded that you have a term paper due, comparing organized crime in modern Italy, Japan, and Russia.

The act of comparing and contrasting is basic to our lives at home, work, and school. In the examples above, comparing and contrasting is done for purposes such as making a decision, solving a problem, or finding an answer.

When writing this type of essay, it’s important to avoid comparisons and contrasts that do not serve a purpose.  

A Purpose: Get One

Therefore, in this type of writing, one of your first tasks is to determine what purpose the comparisons and the contrasts will serve. Consider this example:

Ignorant or Illiterate? A Comparison of Two Essays

Let's say that you've been asked to write a compare and contrast essay about two articles,  “Is Google Making Us Stoopid?” by Nicholas Carr and “Three Tweets for the Web” by Tyler Cowen. Both essays discuss the same topic—the effects of the Internet on our lives. So the potential list of similarities and differences is long. But what purpose will the list serve?

Finding a Thesis

That's where the thesis comes in--the overall point you wish to make as you conduct a compare and contrast analysis. For example, in our comparison of two essays about the Internet’s effects, your thesis could be one of these:

• Unlike television, the Internet increases our understanding of the world and our ability to communicate about it. (Purpose of essay: to assure readers that the Internet does not pose a danger to their IQ or emotional stability)
• Many fear the Internet for invalid reasons, thus missing out on its potential benefits. (Purpose of essay: to teach the fearful how the Internet can enrich their lives)
• The only overall decline caused by the Internet has been the decline in boredom. (Purpose: to satirize the unfounded fears of parents, teachers and experts about the so-called declines caused by the Internet) 

Once you have a clear thesis, then and only then can you go about the important task of outlining your essay as you select and arrange details that allow you to achieve your writing purpose.

The Rules of Fair Play

As you craft your outline and first draft, keep in mind these guidelines for "fair play" when it comes to writing a compare/contrast analysis.

• Rule #1: When analyzing your subjects, use the same criteria for each. If you talk about attention span, information literacy and brain rewiring for the first essay, you must also discuss those same criteria for the second essay, in the same order.
• Rule #2:   Don't try to tilt the outcome. It's fine to have a preference, but it’s not fine to omit or to puff up information. Conduct the comparison in a balanced, objective manner and let the facts speak for themselves.
• Rule #3:   Recognize that any comparison will produce similarities and differences. What you write should reflect, to some extent, this reality. So, for example, if your paper will focus mainly on the differences between the two essays, you could perhaps begin by first pointing to a similarity.

Organizing the Compare-Contrast Essay

You will find these Fair Play rules at work in the two arrangements most often used in compare-contrast essays: the subject-by-subject pattern and the point-by-point pattern.

The subject-by-subject pattern focuses on each subject, one at a time. For example, after an introduction paragraph that provides the thesis of the comparison, the two essays would be discussed separately. Note that the same criteria are used for each essay, in the same order:

Subject-by-Subject Pattern

• Introduction + thesis statement
• Attention span
• Information literacy
• Brain rewiring

A point-by-point pattern , on the other hand, provides a side-by-side analysis of the two essays, and might look something like the outline below. Note that the same criteria for discussion now have their own paragraphs--attention span, information access, and brain rewiring.  

Point-by-Point Pattern

• "Is Google Making Us Stoopid?"
• "Three Tweets for the Web"

Also note that “Is Google Making Us Stoopid?” always comes first in the analysis provided by each paragraph, followed by “Three Tweets for the Web.”

Which Pattern is Better to Use?

The pattern you choose--subject-by-subject or point-by-point--depends on two factors: length of the paper and complexity of the subject matter. A subject-by-subject approach provides a strong overview and simple organization. However, in a more complex analysis, the point-by-point approach helps to keep both subjects in continuous focus and makes technical analyses more understandable for the reader by breaking them down, point by point, and discussing only one point at a time.

Transition Words and Phrases

Finally, don't forget the key transition words and phrases that you will need as you weave back and forth in your analysis. Likewise, in comparison, in contrast, on the other hand, however, on the contrary, and many more help your reader follow along as you navigate between the topics in your compare and contrast essay.

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Writing a Paper: Comparing & Contrasting

A compare and contrast paper discusses the similarities and differences between two or more topics. The paper should contain an introduction with a thesis statement, a body where the comparisons and contrasts are discussed, and a conclusion.

Address Both Similarities and Differences

Because this is a compare and contrast paper, both the similarities and differences should be discussed. This will require analysis on your part, as some topics will appear to be quite similar, and you will have to work to find the differing elements.

Make Sure You Have a Clear Thesis Statement

Just like any other essay, a compare and contrast essay needs a thesis statement. The thesis statement should not only tell your reader what you will do, but it should also address the purpose and importance of comparing and contrasting the material.

Use Clear Transitions

Transitions are important in compare and contrast essays, where you will be moving frequently between different topics or perspectives.

• Examples of transitions and phrases for comparisons: as well, similar to, consistent with, likewise, too
• Examples of transitions and phrases for contrasts: on the other hand, however, although, differs, conversely, rather than.

For more information, check out our transitions page.

Structure Your Paper

Consider how you will present the information. You could present all of the similarities first and then present all of the differences. Or you could go point by point and show the similarity and difference of one point, then the similarity and difference for another point, and so on.

Include Analysis

It is tempting to just provide summary for this type of paper, but analysis will show the importance of the comparisons and contrasts. For instance, if you are comparing two articles on the topic of the nursing shortage, help us understand what this will achieve. Did you find consensus between the articles that will support a certain action step for people in the field? Did you find discrepancies between the two that point to the need for further investigation?

Make Analogous Comparisons

When drawing comparisons or making contrasts, be sure you are dealing with similar aspects of each item. To use an old cliché, are you comparing apples to apples?

• Example of poor comparisons: Kubista studied the effects of a later start time on high school students, but Cook used a mixed methods approach. (This example does not compare similar items. It is not a clear contrast because the sentence does not discuss the same element of the articles. It is like comparing apples to oranges.)
• Example of analogous comparisons: Cook used a mixed methods approach, whereas Kubista used only quantitative methods. (Here, methods are clearly being compared, allowing the reader to understand the distinction.

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Writing effective comparison/contrast essays.

1. Brainstorming and Prewriting

Recall that a comparison/contrast essay serves the purpose of examining the similarities and/or differences between two subjects. When you compare things, you show their similarities; when you contrast things, you show their differences.

The first step in writing a comparison/contrast essay is to brainstorm ideas and decide upon a topic. It's important that you find two things that have enough similarities or differences in order to be able to effectively compare or contrast them. If you choose two things that are too similar, you’ll struggle to find meaningful differences. If you choose two things that are too different, you’ll struggle to find meaningful comparisons.

During the brainstorming stage of the writing process, you can use a variety of activities to help you generate ideas for your topic. It can be helpful to make a list of similarities and differences between your two subjects, then choose the ones that are most important to use in your comparison/contrast essay.

This will help you to see the multitude of similarities and differences, and then focus in on the most important ones to use in your essay:

Clustering, or mapping, is another way to generate ideas using words, shapes, and lines that show the connections between those ideas.

• There are unending things that you can compare/contrast, and choosing two might seem overwhelming. Some common themes for a comparison/contrast essay may include events (Battle of Fort Sumter versus Battle of Sewell’s Point), situations (riding the bus versus driving to work), people (a CEO versus a CFO of a company), and places (London versus Tokyo).
• A good approach for beginner writers can be to pick two things that are in the same overarching category (foods, animals, locations, people, events, etc.) but differ in some significant ways. This can make it easier to see the similarities as well as the differences.
• Don’t forget to consider the "So what?" question when deciding on your topic. Why are you choosing this topic? Why should anyone care? Is it at all meaningful? You should be able to explain to your readers why it is useful that they understand the similarities or differences between these two topics.
• Ghandi and Martin Luther King Jr. (historical figures)
• The 1960s and today (two eras in time)
• Pop music and country music (genres of music)
• Oprah Winfrey and Ellen DeGeneres (talk show hosts)
• Online college courses and in-person college courses (ways to take college courses)
• Communism and socialism (belief systems)
• Solar power and wind energy (energy types)

As you narrow your focus, you will need to determine which points of comparison or contrast are most important. The number of points of comparison or contrast that you settle on will be driven by the topic you choose. However, for the comparison/contrast essay you’ll be writing for this course, you will need to focus in on two or three main points of comparison or contrast.

As you know, an outline can be a useful tool during prewriting to help you further develop the ideas and organization of your essay. Creating an outline will help you plan the way in which you want to organize your body paragraphs, and which details you want to include in each. This will help you to produce a sort of roadmap for your essay.

2. Drafting a Thesis Statement

A good thesis statement is the cornerstone of any academic essay. During the brainstorming and prewriting steps, you will have selected a topic and chosen your strongest main points to either compare or contrast within your essay. This will help you further develop your thesis statement.

A good thesis statement should convey the main points of your essay and should avoid being overly generic.

Instead, a good thesis statement should provide more information on which points of comparison or contrast will be discussed in the essay. Below are some templates you can consider as you begin to draft your thesis statement. A good thesis statement is not required to follow one of these patterns, but as a beginning writer, you may find that they provide a helpful starting point.

For an essay contrasting two subjects, your thesis statement may look something like this:

{Subject 1} and {Subject 2} may appear similar, but they differ in {first point of contrast}, {second point of contrast}, and {third point of contrast}.

Or, if you are comparing two subjects, your thesis statement might look something like this:

{Subject 1} and {Subject 2} do not appear to have a lot in common, but they are very similar in {first point of comparison}, {second point of comparison}, and {third point of comparison}.

A thesis statement might meaningfully contrast two subjects using the template above, like this:

Paris and Tokyo are both large metropolitan cities, but they differ in terms of their job opportunities, average income, and living expenses.

Notice how the primary emphasis in the above thesis is about how the two cities differ based on the three points the author chose to focus on: job opportunities, income, and living expenses. This thesis statement gives the reader a clear idea of the specific points of contrast that will be covered within the body of the essay.

3. Methods of Organization

Now that you have your working thesis statement, you’re ready to begin thinking about how to organize the body paragraphs within your essay.

• The point-by-point method
• The block method

You may also consider your particular approach to the subjects as well as the nature of the subjects themselves; some subjects might better lend themselves to one structure or the other.

3a. Point-by-Point Method

The point-by-point method, also known as the alternating format method, is one method of paragraph development and organization for a comparison/contrast essay.

When you use the point-by-point method, you are choosing one point of comparison and then writing one paragraph about each of your subjects that shows how they are similar or different.

IN CONTEXT If you are comparing two fast-food restaurants, McDonalds and Burger King, you would first determine your points of comparison. Let’s say you're going to focus on similarities in costs, menus, and taste. Your first body paragraph would consider the costs at McDonalds, and your second body paragraph would consider the costs at Burger King. Your third and fourth body paragraphs would consider the menus at McDonalds and Burger King, and your final two body paragraphs would consider the taste of the food at both restaurants.

This method of organizing is usually easier for the reader to follow, as the main points of the body paragraphs alternate in sequence between subjects.

To demonstrate this method, let’s take the thesis statement, "Paris and Tokyo are both large metropolitan cities, but they differ in terms of their job opportunities, average income, and living expenses." In this case, the author is focusing on the differences between the two cities in regard to three main points.

• Introduction + thesis statement
• Body paragraph 1: Job opportunities in Paris
• Body paragraph 2: Job opportunities in Tokyo
• Body paragraph 3: Average income in Paris
• Body paragraph 4: Average income in Tokyo
• Body paragraph 5: Living expenses in Paris
• Body paragraph 6: Living expenses in Tokyo

3b. Block Method

The block method, also known as the subject-by-subject method, is another method of paragraph development and organization in a comparison/contrast essay.

As the name implies, if you choose the block method, you will consider all of your points of comparison or contrast for one subject in the first two or three body paragraphs of your essay, and then discuss the same main points for the second subject in the remaining body paragraphs.

IN CONTEXT If you're contrasting your local grocery store with the giant superstore outside of town, you would first determine your points for contrast. You might choose to focus on the differences in prices, convenience, and atmosphere. You would begin the body of the essay by devoting one paragraph each to these three points about your local grocery store; then, you would write three paragraphs that show how the superstore is different according to those same points.

hint If you choose this method, pay special attention to transition use to help guide your reader.

To demonstrate this method, let’s again take the thesis statement, "Paris and Tokyo are both large metropolitan cities, but they differ in terms of their job opportunities, average income, and living expenses."

• Body paragraph 2: Average income in Paris
• Body paragraph 3: Living expenses in Paris
• Body paragraph 4: Job opportunities in Tokyo
• Body paragraph 5: Average income in Tokyo

4. Using Transitions

Given that comparison/contrast essays analyze the relationship between two subjects, it is also helpful to have some transitions on hand that will cue the reader to such analysis.

These words and phrases help to highlight the points you are trying to make by signaling the relationships between the subjects in a clear way.

Below are some sample transitional words and phrases that you may use to indicate a comparison or contrast.

summary In this lesson, you learned how to begin putting your comparison/contrast essay together by first starting with brainstorming and prewriting, then moving on to drafting a thesis statement . There are two methods of organization for the body of a comparison/contrast essay that you can choose from: the point-by-point method and the block method . The specific way in which you organize your body paragraphs will be largely determined by your topic and subjects, your audience, and your purpose. Whichever method you choose, using transitions effectively can help readers follow along with your main points. Best of luck in your learning!

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How to Write a Compare and Contrast Essay

Published September 27, 2020. Updated May 4, 2022.

Compare and Contrast Essay Definition

A compare and contrast essay discusses similarities and differences between two subjects. The discussion shows the writer’s deep understanding of both subjects.

Overview of a Compare and Contrast Essay

• Choose what two subjects to compare and contrast.
• Brainstorm similarities and differences between the two subjects.
• Develop a thesis statement and write an introduction.
• Write an analysis, using the block method or the point-by-point method.
• Write a conclusion.

This page will cover the following points:

Key Takeaways

What is a compare and contrast essay, step 1: choose what to compare and contrast, step 2: brainstorm similarities and differences, step 3: write an introduction and a thesis, step 4: use block method or point-to-point, step 5: write a conclusion.

• Why Do Teachers Assign Compare and Contrast Essays?
• A compare and contrast essay discusses the similarities and differences between two subjects to show a deep understanding of both.
• Pick subjects and points that are relevant to your class .
• Use your essay’s thesis statement to show the reader why the similarities and differences are important.
• Choose whether you’d like to focus on one subject at a time ( block method ) or move back and forth between subjects ( point-to-point method ).
• A  compare and contrast essay outline includes a full thesis statement and uses appropriate structure ( block method or point-to-point ).
• A  thesis statement is the foundation of an essay, listing your paper’s main comparisons and explaining why they’re important.
• With  block structure , you dedicate each body paragraph to one of your two subjects.
• With  point-to-point , you dedicate each body paragraph to one of your main points about both subjects.

A compare and contrast essay discusses the similarities and differences between two subjects. This shows a deep understanding of both subjects.

Sometimes, instructors ask students to weigh the positives and negatives of both subjects, choose which subject is better, and defend their position. Read the essay prompt carefully!

Worried about your writing? Submit your paper for a Chegg Writing essay check , or for an Expert Check proofreading . Both can help you find and fix potential writing issues.

In some classes, your instructor will tell you which two subjects to focus on. They’ll usually pick topics discussed in lectures.

For example, in an American literature course, your instructor may ask you to compare and contrast two writers like Allen Ginsberg and Jack Kerouac. Both were part of the same literary movement (the Beat Generation) but still had unique styles and priorities.

Your instructor may let you choose your subjects. Pick two people, things, or ideas discussed in class with clear differences but something in common, too.

Let’s say, for example, your class is talking about pizza (what a great class, right?). You’ll want to choose two subjects in that category that are comparable, such as New York-style pizza and Chicago deep-dish pizza. Both are types of pizza, and they both mean a lot to certain American cities.

You can also find ways to contrast these two pizzas. They both have a distinct shape and are eaten differently (try eating deep-dish pizza with your hands!).

Although your class probably isn’t talking about pizza, the point here is to pick two subjects that:

• Your instructor or textbook discussed.
• You feel confident about and which have several important similarities and differences.

But how will you know if any given similarity or difference is important ? In the next section, you’ll brainstorm your essay’s main points and pick the ones that are most appropriate for your class.

By now, you’ve chosen (or were told) your two subjects. Next, it’s time to think about what differences and similarities your paper should focus on.

Since this brainstorming session is just for you, feel free to use whichever method you prefer. Some people like to use Venn diagrams to organize their thoughts. Others prefer a T-chart or just jotting ideas down.

Not all compare and contrast points are made equal. Think about what your instructor has talked about in class so far. Then, decide which points would sound the most appropriate for your course.

This is also a good time to revisit the prompt. Your instructor may have already hinted at what they’d like you to discuss in the instructions.

Here’s an example of a brainstorming session about New York- and Chicago-style pizza. Let’s figure out which of these compare and contrast points would be best for the paper:

After brainstorming, you have four very different points for your pizza paper. Each could be helpful, depending on the class.

If the class is about local history, then the last point, “many restaurants nearby make it,” will be useful. If not, then that point is likely the least relevant.

Meanwhile, a class about United States history will care deeply about how these different foods helped shape the identity of Chicago and New York City, respectively (point #3).

Points #1 and #2 talk about the size and shape of the pizza. These would be great choices for a home economics class, where the preparation and presentation of the dish are important.

Whichever points you choose for your compare and contrast essay, make sure they make sense and seem relevant to your class. Never throw in an extra point just to reach the word count for the paper. Your instructor will be able to tell!

Once you have three or four relevant points for your compare and contrast essay, it’s time to write the thesis statement. This will tell your instructor why these similarities and differences are important and worth talking about in an essay.

The introduction is where you’ll tell your audience what your two subjects are. You’ll also discuss the main ways you plan to compare and contrast them.

One of the most important parts of your introduction (and the whole paper) is your thesis statement. The thesis is the main argument of your essay.

Why should someone care about the similarities and differences between these two subjects? That’s the question your thesis statement should answer.

Let’s think, for example, about the New York- and Chicago-style pizza essay. Why should your instructor care about comparing and contrasting these two pizza types?

Here’s an example thesis statement for that paper:

Both New York-style and Chicago deep-dish pizza are important to the identities of their respective cities. However, the fast, portable nature of by-the-slice New York-style pizza makes it easier for the average New Yorker to eat frequently than does the deep-dish pizza for Chicago residents.

This thesis statement not only points out differences and similarities between the pizzas but also begins to say why those differences matter. Remember that the rest of your paper should support the points made in your thesis statement and address important questions.

For example, in the pizza-paper thesis, common questions might include:

What makes New York-style pizza more portable? In what ways are these pizzas important to each city’s identity?

Now, you have a compelling thesis statement for your paper ready to go. Next, you’ll spend some time thinking about how you want to present the similarities and differences between your two subjects.

Would you like to talk about one subject at a time? Or would you prefer to switch between the two to better highlight their differences?

In the next section, you’ll learn the pros and cons of both of these styles. Then, you’ll decide which one is right for your paper.

Here’s what a well-outlined introduction looks like:

– Begin with a lighthearted discussion about the centuries-long debate over cats and dogs.

– Thesis statement: Cats and dogs have varying activity levels, maintenance needs, and ways of showing affection, which potential owners should keep in mind before deciding between the two.

There are many ways to format your compare and contrast paper. But to keep things simple, let’s focus on the two most popular strategies.

With the block method , you make all your points about subject #1 before switching to subject #2. You may dedicate one or even two full paragraphs to the first subject before comparing it with the second one.

Here’s an example outline for a block method essay:

Paragraph 1: Introduction

P2: Subject #1

P3: Subject #1 (continued)

P4: Subject #2

P5: Subject #2 (continued)

P6: Conclusion

There are pros and cons to each method. The main benefit of the block method is that it is easy to keep your paper organized. Because you’re only discussing one subject at a time, your instructor can easily tell what you’re talking about.

There are still cons to this structure, though. For example, it will be harder for your audience to remember the points you made about subject #1 when you finally get to subject #2.

If you want to more closely compare and contrast your two subjects, you’ll want to use the point-to-point approach.

With point-to-point, you’ll dedicate each of your body paragraphs to a similarity or difference between the two subjects. You’ll compare and contrast both subjects in each body paragraph.

Let’s take a look at an outline organized for the point-to-point method:

P2: Similarity #1

P3: Similarity #2

P4: Difference #1

P5: Difference #2

The main benefit of point-to-point is that the similarities and differences between your two subjects will be more clear. After all, you’re going back and forth between the two at all times.

Because you are switching so often, though, you’ll want to write very clearly. Be sure to use plenty of transition words, which you’ll learn more about in the next section. Otherwise, your instructor may lose track of what you’re discussing.

Both of these methods will work with most compare and contrast essays. You’ll have to decide for yourself if you feel your subjects would be better discussed one at a time (block method) or back and forth (point-to-point).

Template on block structure and point-to-point examples

Transition words for a compare and contrast essay.

In a compare and contrast essay, you’ll be discussing at least two different subjects throughout the paper. That’s why it’s helpful to use transition words. These words will let your audience know when you’re moving on to a new topic or directly contrasting two ideas.

Here are some useful transition words for compare and contrast essays:

• in contrast

As you can guess, some of these words (ex: “similarly” and “likewise”) help you compare your two subjects. Here’s an example:

Pizza-by-the-slice places are an iconic image of New York City. Similarly , visitors to Chicago make it a point to find a deep-dish pizza restaurant.

Other transition words (ex: “in contrast” and “unlike”) point to an important difference. Let’s try one out:

Unlike New York-style pizza, which can be enjoyed on the go, Chicago deep-dish pizza is suited better for a traditional, sit-down restaurant.

Use these and other transition words to make your points more clear. Try using different transition words throughout your paper, such as using “similarly” once and then “likewise” the next time. That way, you can avoid monotonous sentences.

By the time you reach the conclusion of a compare and contrast paper, you’ve already done a lot of planning and writing. It’s completely understandable if you feel a bit burned out.

Like many other papers, you’ll want to use the conclusion of your compare and contrast essay to remind your instructor of your main points. But it’s also important not to copy and paste your introduction into the conclusion.

Try to find a new, eye-catching way to transition back into your main points and restate your thesis. Here’s an example for the New York- and Chicago-style pizzas:

In the season 2 episode of The Office (US), “Valentine’s Day,” Michael Scott visits downtown New York City and immediately runs into a Sbarro’s restaurant for a “New York slice.” The scene is a joke about Michael’s naïveté. But it also points to how second nature New York-style pizza is for experiencing the area. Both New York-style and Chicago deep-dish pizza hold a special place in their city’s identities…

As always, make sure whatever you write is appropriate for your class. With a topic as light-hearted as pizza, a quick The Office reference fits right in. But in other essays, a pop culture reference would be distracting.

Here’s an example of an outline for a conclusion:

– Talk about famous cats and dogs in pop culture and their personalities, like Chloe and Max from The Secret Life of Pets .

–  Restate thesis: From the palaces of Ancient Egypt to the condos of modern-day New York City, both cats and dogs have long been revered for their companionship. Potential owners should consider cats and dogs’ varying activity levels, grooming needs, and ways of showing affection before deciding which pet is right for them.

Use your conclusion to reinforce the points made throughout the paper. Adding anecdotes like the one above can make your paper stand out and keep the attention of your instructor. It’s also a way to let them know that you took the assignment seriously from the beginning to the very end.

Example Compare and Contrast Essay on J azz vs. Rock

Before you turn in that paper, don’t forget to cite your sources in APA format , MLA format , or a style of your choice.

Why Do Teachers assign Compare and Contrast Essays?

In many cases, your instructor assigns compare and contrast papers to test your comprehension of two subjects, as well as to see how well you understand authors, historical periods, or other concepts discussed in class.

Planning and writing these essays can be intimidating at first. In this guide, though, you’ll find helpful tips, from the first brainstorming session all the way to wrapping up the conclusion.

Published August 19, 2020.

By James Ardis. James is a writer who earned his MFA in Poetry from the University of Mississippi. He’s also taught English as a Second Language in South Korea, Thailand, and to refugees living in America.

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How to Write a Compare and Contrast Essay

5-minute read

• 9th March 2021

In a compare and contrast essay , you look at the similarities and differences between two subjects. How do you write one, though? Key steps include:

• Pick two things to compare based on the assignment you were given.
• Brainstorm the similarities and differences between your chosen subjects.
• Choose a structure for your essay and plan how you will write it.
• Write up your comparison and use evidence to support your argument.
• Revise and proofread your essay to make sure it is perfect.

For more advice on each stage, check out our guide below.

1. Pick Two Subjects to Compare and Contrast

A compare and contrast assignment will ask you, unsurprisingly, to compare and contrast two things. In some cases, the assignment question will make this clear. For instance, if the assignment says “Compare how Mozart and Beethoven use melody,” you will have a very clear sense of what to write about!

Other times, you will have a choice of what to compare. In this case, you will want to pick two things that are similar enough to make a useful comparison.

For example, comparing Mozart and Beethoven makes sense because both are classical composers. This means there will be lots of points of comparison between them. But comparing Mozart to a Ferrari SF90 Stradale would just be confusing: one is a renowned composer and musician, the other is a high-end sports car, so they have very little in common that we could usefully compare.

At the same time, the things you pick should be different enough that you can find points of contrast. Were you asked to compare the calorific content of two types of fast food, for example, it might not make sense to compare hamburgers and cheeseburgers as they are too similar. But you could compare hamburgers and pizzas since both are forms of fast food but they differ in other respects.

As such, if you need to pick the subjects of your essay, read your assignment question carefully and try to find two things that will produce a helpful comparison.

2. Brainstorm Their Similarities and Differences

The next step is to brainstorm similarities and differences between your chosen subjects. You can do this as a simple list, but you could also use a Venn diagram .

This is a set of overlapping circles, each of which represents one subject. You can then add characteristics to each circle, with anything your subjects have in common going in the overlapping bit in the middle.

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Once you’ve listed characteristics, you’ll need to pick out the similarities and differences relevant to your essay. If you were assigned a question, use this to guide your choices. Otherwise, look for features that seem surprising or interesting and plan your essay around these. The key is to pick points of comparison that help us to understand each thing better, or where the similarities and differences show us something that we might not have expected or noticed otherwise.

3. Choose a Structure for Your Essay

As with any essay, you will want to start with a short introduction where you introduce your topic and what you will argue. Beyond this, most compare and contrast essays are structured in one of two ways. Decide which approach to take before you write your essay outline :

• Divide by subject – Cover each subject in turn, looking at the key features you’ve identified in the previous step. You can then include a final section where you highlight what comparing the subjects tell us.
• Divide by individual points – Break your essay down into a series of sections. Each section will then focus on one of the key features you’ve identified, explaining the similarities and differences between your chosen subjects.

For instance, if you were comparing two novels, you could write about each novel in turn and then compare them at the end. Alternatively, you could structure your essay so that each section covers an individual idea (e.g., one on structure, one on characters, one on language), looking at how each book uses these things.

In either case, you will want to end on a conclusion where you summarize what the comparison has shown us about the two subjects.

4. Use Supporting Evidence for Your Argument

It is important that you also back up your statements with supporting evidence. In some cases, this will simply involve pointing to the features of each subject that you’re discussing (e.g., citing specific parts of the novels you’re comparing).

However, you can also do extra research to back up your arguments. Were you comparing two countries’ economic performance, for example, you could use statistics from other studies or reports to show the similarities and differences.

5. Proofread Your Compare and Contrast Essay

Once you have a first draft of your compare and contrast essay, take a break. If you have time, leave it overnight. The aim is to come back to it with fresh eyes and reread it, looking for any areas you could improve. After this, you can redraft your essay to make sure your argument is clear, concise, and convincing.

It is also a good idea to have your essay proofread before submitting it. This will ensure your work is error free and help you get the marks you deserve.

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23 Compare and Contrast

Comparison  in writing discusses elements that are similar, while  contrast  in writing discusses elements that are different. A  compare-and-contrast essay , then, analyzes two subjects by comparing them, contrasting them, or both.

The key to a good compare-and-contrast essay is to choose two or more subjects that connect in a meaningful way. The purpose of conducting the comparison or contrast is not to state the obvious but rather to illuminate subtle differences or unexpected similarities. For example, if you wanted to focus on contrasting two subjects you would not pick apples and oranges; rather, you might choose to compare and contrast two types of oranges or two types of apples to highlight subtle differences. For example, Red Delicious apples are sweet, while Granny Smiths are tart and acidic. Drawing distinctions between elements in a similar category will increase the audience’s understanding of that category, which is the purpose of the compare-and-contrast essay.

Figure 5.7 Apples, Green and Red

Similarly, to focus on comparison, choose two subjects that seem at first to be unrelated. For a comparison essay, you likely would not choose two apples or two oranges because they share so many of the same properties already. Rather, you might try to compare how apples and oranges are quite similar. The more divergent the two subjects initially seem, the more interesting a comparison essay will be.

Writing at Work

Comparing and contrasting is also an evaluative tool. In order to make accurate evaluations about a given topic, you must first know the critical points of similarity and difference. Comparing and contrasting is a primary tool for many workplace assessments. You have likely compared and contrasted yourself to other colleagues. Employee advancements, pay raises, hiring, and firing are typically conducted using comparison and contrast. Comparison and contrast could be used to evaluate companies, departments, or individuals.

Exercise 13

Brainstorm an essay that leans toward contrast. Choose one of the following three categories. Pick two examples from each. Then come up with one similarity and three differences between the examples.

• Romantic comedies
• Internet search engines
• Cell phones

Exercise 14

Brainstorm an essay that leans toward comparison. Choose one of the following three items. Then come up with one difference and three similarities.

• Department stores and discount retail stores
• Fast food chains and fine dining restaurants
• Dogs and cats

The Structure of a Comparison and Contrast Essay

The compare-and-contrast essay starts with a thesis that clearly states the two subjects that are to be compared, contrasted, or both and the reason for doing so. Remember, the point of comparing and contrasting is to provide useful knowledge to the reader. Take the following thesis as an example that focuses on contrast.

Thesis statement : Organic vegetables may cost more than those that are conventionally grown, but they are definitely worth every extra penny.

Here the thesis sets up the two subjects to be compared and contrasted (organic versus conventional vegetables), and it makes a claim about the results that might prove useful to the reader.

You may organize compare-and-contrast essays in one of the following two ways:

• According to the subjects themselves, discussing one then the other
• According to individual points, discussing each subject in relation to each point

The organizational structure you choose depends on the nature of the topic, your purpose, and your audience.

See the chart below, which diagrams the ways to organize the organic versus conventional vegetables thesis.

Figure 5.8 Organization Diagram

Given that compare-and-contrast essays analyze the relationship between two subjects, it is helpful to have some phrases on hand that will cue the reader to such analysis. See the chart below for examples.

Figure 5.9 Phrases of Comparison and Contrast

Exercise 15

Create an outline for each of the items you chose in Exercises 13 and 14. Use the point-by-point organizing strategy for one of them, and use the subject organizing strategy for the other.

Writing a Comparison and Contrast Essay

First, choose whether you want to compare seemingly disparate subjects, contrast seemingly similar subjects, or compare and contrast subjects. Once you have decided on a topic, introduce it with an engaging opening paragraph. Your thesis should come at the end of the introduction, and it should establish the subjects you will compare, contrast, or both as well as state what can be learned from doing so.

The body of the essay can be organized in one of two ways: by subject or by individual points. The organizing strategy that you choose will depend on, as always, your audience and your purpose. You may also consider your particular approach to the subjects as well as the nature of the subjects themselves; some subjects might better lend themselves to one structure or the other. Make sure to use comparison and contrast phrases to cue the reader to the ways in which you are analyzing the relationship between the subjects.

After you finish analyzing the subjects, write a conclusion that reinforces your thesis while drawing a conclusion based on what you have presented. This conclusion is the “and so” statement for your essay, giving you the place to offer a judgement based on the examination you have just offered.

Many business presentations are conducted using comparison and contrast. The organizing strategies—by subject or individual points—could also be used for organizing a presentation. Keep this in mind as a way of organizing your content the next time you or a colleague have to present something at work.

Exercise 16

Choose two people who are significant in your life and have a similar relationship with you (two friends, two siblings, etc). Make a list of similarities and differences between these people. Consult your list, then draw a conclusion based on the presence of these similarities and differences. Outline the similarities and differences, then write a statement that offers an overall conclusion.

Assignment 5

Choose one of the outlines you created in Exercise 15 or 16, and write a full compare-and-contrast essay. Be sure to include an engaging introduction, a clear thesis, well-defined and detailed paragraphs, and a fitting conclusion that ties everything together.

Key Takeaways

• A compare-and-contrast essay analyzes two subjects by either comparing them, contrasting them, or both.
• The purpose of writing a comparison or contrast essay is not to state the obvious but rather to illuminate subtle differences or unexpected similarities between two subjects.
• The thesis should clearly state the subjects that are to be compared, contrasted, or both, and it should state what is to be learned from doing so.
• Organize by the subjects themselves, one then the other.
• Organize by individual points, in which you discuss each subject in relation to each point.
• Use phrases of comparison or phrases of contrast to signal to readers how exactly the two subjects are being analyzed.

External Links

“ Disability ” (https://tinyurl.com/y99te6e2) by Nancy Mairs: In “Disability,” writer Nancy Mairs discusses the experience of being a disabled person in a world focused on the able-bodied. It seems to be titled “Hers” but it is the correct essay.

“ Friending, Ancient or Otherwise ” (https://tinyurl.com/y85u8ae8) by Alex Wright: In “Friending, Ancient or Otherwise,” writer Alex Wright explores the evolution and purpose of friendship in the age of social media.

“ Sex, Lies and Conversation: Why Is It So Hard for Men and Women to Talk to Each Other ? ” (https://tinyurl.com/y95dpehx) by Deborah Tannen. In this essay, Tannen compares and contrasts conversation styles. You can view the essay  here  (https://tinyurl.com/y9vnjqv8) also.

Example Comparison and Contrast Essay

“A South African Storm”

By Allison Howard – Peace Corps Volunteer: South Africa (2003-2005)

It’s a Saturday afternoon in January in South Africa. When I begin the 45–minute walk to the shops for groceries, I can hear thunder cracking in the distance up the mountain in Mageobaskloof. But at 4 p.m. the sky is still light and bright and I am sure—famous last words—I will be fine without an umbrella.

Just the basics: eggs, bread, Diet Coke in a bag slung into the crook of my elbow. Halfway from town, two black South African women—domestic workers in the homes of white Afrikaner families—stop me with wide smiles. They know me; I’m the only white person in town who walks everywhere, as they do. They chatter quickly in northern Sotho: “Missus, you must go fast. Pula e tla na! The rain, it comes!” They like me, and it feels very important to me that they do.“Yebo, yebo, mma,” I say—Yes, it’s true—and I hurry along in flip-flops, quickening my pace, feeling good about our brief but neighborly conversation. These are Venda women.

My black South African friends tell me it’s easy to tell a Venda from a Shangaan from a Xhosa from a Pedi. “These ones from Venda , they have wide across the nose and high in the cheekbones,” they say. But I don’t see it; I’m years away from being able to distinguish the nuances of ethnicity. Today, I know these women are Vendas simply because of their clothing: bright stripes of green and yellow and black fabric tied at one shoulder and hanging quite like a sack around their bodies. They’ve already extended a kindness to me by speaking in northern Sotho. It’s not their language but they know I don’t speak a word of Afrikaans (though they don’t understand why; Afrikaans is the language of white people). They know I struggle with Sotho and they’re trying to help me learn. So they speak Sotho to me and they’re delighted and amused by my fumbling responses. And I am, quite simply, delighted by their delight.

The Venda ladies are right: the rain, it comes. Lightly at first, and by habit I begin trotting to hurry my way home. Just a little rain at first and there are plenty of us out in it. I can see others up ahead on the street and others still just leaving the shops to get back before the real rain begins.

The people who are walking along this swath of tar road are black. Black people don’t live in this neighborhood—or in my town at all, for the most part. They work and board here as domestic workers, nannies, gardeners. Their families live in black townships and rural villages—some just outside of my town; others far away, in places like Venda.

Today, we’re walking together in the rain, and I’m quickening my pace because—after all , it’s raining . That’s what you do in the rain. And even though it’s coming down noticeably harder, it’s 80 degrees and I’m not cold, I’m just wet. My hair is stuck to my forehead and my T-shirt is soaked … and I’m the only one running for cover. And I think: So what? It’s just water and in the middle of the January summer, it’s warm, refreshing water. Why run? Why do we run from the rain?

In my life back in the United States, I might run because I was carrying a leather handbag, or because I wore an outfit that shouldn’t get wet. I would run because rain dishevels and messes things up. Mostly though, we run because we just do; it’s a habit. I’ve done it a hundred times: running to my car or the subway station with a newspaper sheltering my head. I have never not quickened my pace in the rain until today.

It took all of my 27 years and a move to Africa , where I don’t have a leather handbag to shelter or a pretty outfit to protect. I’m wearing an old cotton skirt and a T-shirt, and I’m drenched, and I love it. I learn things here in the most ordinary circumstances. And I feel like a smarter, better woman today because I got groceries in the rain.

But on the long walk home, positively soaked and smiling like a fool, I notice a car pulling over and a man yelling in Afrikaans to get in, get in. I look in the direction I’ve come from and several meters behind me is a woman with a baby tied to her back and an elderly man carrying bags, leading a young boy by the hand. On the road ahead, a woman about my age carries a parcel wrapped in plastic, balanced precariously on her head. There are maybe 20 people walking with me in my reverie of rain and they are black. And the man in the car is white and he’s gesturing frantically for me to get in. Why me? Why not the others? Because I’m white and it’s about race. Everything is about race here.

This man in the car is trying to do something kind and neighborly. He wants to help me and his gesture is right, but his instincts are so wrong. How do you resent someone who is, for no benefit of his own, trying to help? But I do. I resent him and I resent the world he lives in that taught him such selective kindness. This whole event unravels in a few seconds’ time. He’s leaned over and opened the car door, urging me in … and I get in. And we speed past my fellow walkers and he drops me at my doorstep before I have time to think of anything besides giving him directions.

It feels like a mistake because I’m ashamed to think what the Venda women would have felt if he’d ignored them and they had watched me climb into that car. In some ways, the whole episode seems absurd. I’m not going to atone for 400 years of South African history by walking with black people in the rain. If I’d refused his ride, he wouldn’t have thought anything besides the fact that I was certifiably crazy. That’s the thing about being here: I’m not going to change anything. But I believe it matters in some infinitesimal way that people like the Venda women, and the dozens of people who may walk alongside me on any given day, know that I’m there. In black South African culture, it is polite to greet every person you pass. That’s what they do, so I do it, too. On the occasional morning, someone might greet me as “sesi,” sister. I have to believe that matters; I know it matters to me.

I was disappointed in myself for getting into the car because I acted according to the same habit that makes us think rain an inconvenience. Just as we run from the rain, I hopped into that car because I’m supposed to. Conventionally, it makes sense. But convention compels us to do so many things that don’t make any sense at all. Convention misinforms our instincts. And in a larger sense, it is convention that propels Afrikaner culture anachronistically into the future. Ten years after the supposed end of apartheid, I’m living in a world of institutionalized racism. Convention becomes institution—and it’s oppressive and it’s unjust. I know that if I’m going to make it here for two more years, I need to walk in the rain. It’s a small, wasted gesture, but it’s an uncorrupted instinct that makes me feel human.

So much about living here feels like that fraction of a second when the Afrikaner man was appealing to my conventional sensibilities and the people on the street were appealing to my human instincts. It may feel unnatural to reject those sensibilities just as, at first, it feels unnatural to walk in the rain. But if I lose a hold on my instincts here, I’ll fail myself and I’ll fail to achieve those tiny things that matter so much. It’s simple and it’s small; and it’s everything. Gandhi said, “Be the change you wish to see in the world.” Indeed. Let it rain.

Example Comparison and Contrast Essay #2

Comparing and Contrasting London and Washington, DC

Both Washington, DC, and London are capital cities of English-speaking countries, and yet they offer vastly different experiences to their residents and visitors. Comparing and contrasting the two cities based on their history, their culture, and their residents show how different and similar the two are.

Both cities are rich in world and national history, though they developed on very different time lines. London, for example, has a history that dates back over two thousand years. It was part of the Roman Empire and known by the similar name, Londinium. It was not only one of the northernmost points of the Roman Empire but also the epicenter of the British Empire where it held significant global influence from the early sixteenth century on through the early twentieth century. Washington, DC, on the other hand, has only formally existed since the late eighteenth century. Though Native Americans inhabited the land several thousand years earlier, and settlers inhabited the land as early as the sixteenth century, the city did not become the capital of the United States until the 1790s. From that point onward to today, however, Washington, DC, has increasingly maintained significant global influence. Even though both cities have different histories, they have both held, and continue to hold, significant social influence in the economic and cultural global spheres.

Both Washington, DC, and London offer a wide array of museums that harbor many of the world’s most prized treasures. While Washington, DC, has the National Gallery of Art and several other Smithsonian galleries, London’s art scene and galleries have a definite edge in this category. From the Tate Modern to the British National Gallery, London’s art ranks among the world’s best. This difference and advantage has much to do with London and Britain’s historical depth compared to that of the United States. London has a much richer past than Washington, DC, and consequently has a lot more material to pull from when arranging its collections. Both cities have thriving theater districts, but again, London wins this comparison, too, both in quantity and quality of theater choices. With regard to other cultural places like restaurants, pubs, and bars, both cities are very comparable. Both have a wide selection of expensive, elegant restaurants as well as a similar amount of global and national chains. While London may be better known for its pubs and taste in beer, DC offers a different bar-going experience. With clubs and pubs that tend to stay open later than their British counterparts, the DC night life tend to be less reserved overall.

Both cities also share and differ in cultural diversity and cost of living. Both cities share a very expensive cost of living—both in terms of housing and shopping. A downtown one-bedroom apartment in DC can easily cost $1,800 per month, and a similar “flat” in London may double that amount. These high costs create socioeconomic disparity among the residents. Although both cities’ residents are predominantly wealthy, both have a significantly large population of poor and homeless. Perhaps the most significant difference between the resident demographics is the racial makeup. Washington, DC, is a “minority majority” city, which means the majority of its citizens are races other than white. In 2009, according to the US Census, 55 percent of DC residents were classified as “Black or African American” and 35 percent of its residents were classified as “white.” London, by contrast, has very few minorities—in 2006, 70 percent of its population was “white,” while only 10 percent was “black.” The racial demographic differences between the cities is drastic.

Even though Washington, DC, and London are major capital cities of English-speaking countries in the Western world, they have many differences along with their similarities. They have vastly different histories, art cultures, and racial demographics, but they remain similar in their cost of living and socioeconomic disparity.

Attributions

Content taken from Chapter 5 – Rhetorical Modes  by Jenifer Kurtz is licensed under a  Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License

English 101: Journey Into Open Copyright © 2021 by Christine Jones is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Compare the Pair: A Guide to Structuring a Reading and Comparing Essay

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Just when you thought you had finally become accustomed to the complicated art of essay writing, VCE decides to throw you a curveball in the form of a reading and comparing essay that addresses not just one, but two texts. Being introduced to a comparative essay for the first time, it is not surprising that many students encounter difficulties in structuring their writing. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

(An accurate representation of the common VCE English student attempting to write a comparative essay)

Luckily, there are quite a few tips and tricks out there that will help you on the journey to a well-structured essay!

What is reading and comparing?

This area of study relates to comparing and contrasting two texts in order to unearth  the common themes, ideas, motifs and issues explored. By drawing upon similarities and differences, we are enabled to gain a more profound comprehension of both texts. However, aside from merely comparing what is presented on the surface of a text, (symbols, characters, motifs, themes etc) it is also imperative that you delve a little deeper. Some questions you might want to ask yourself as you are planning a comparative essay are:

- What message are the authors trying to convey?

- What is the significance of symbols, themes, characterisation and motifs in relation to the texts as a whole?

- What was the setting/context in which the authors wrote their texts?

- Why did the authors choose to write about a specific setting/context? Were they directly involved in the social/political issues explored in the texts themselves?

- What are the main similarities and differences and how can I link them together?

Congratulations! Once you have thoughtfully considered these questions, you are one step closer to piecing together your essay!

Because there's such an emphasis on drawing insightful text connections in this area of study, in the LSG Comparative study guide we show you how to use the CONVERGENT and DIVERGENT strategy to identify unique points of comparison. In the study guide, which has been written by 45+ study scorers, we also explain how to strengthen your comparative discussion through Advanced Essay Paragraph Structures which truly showcase the power of the CONVERGENT and DIVERGENT strategy. I don't discuss the strategy in detail here, but you can check it out in How To Write Killer Comparative. ‍

How to structure your essay

Since the purpose of this task is to evaluate the similarities and differences between two texts, (unless you’ve royally misinterpreted the nature of reading and comparing! ) your body paragraphs will need to address both text A and text B. As with all exceptional VCE essays, I would stress that you DO NOT disregard the significance of beginning your essay with an introduction that neatly and briefly outlines your arguments in relation to the essay topic. You SHOULD also have a conclusion to close your essay, which functions as a summary to the ideas you have conveyed in your body paragraphs.

Although there are a few ways in which to structure a comparative essay, with students generally opting for whichever approach works best for them, I will focus upon two different methods, which I find to be the easiest and most concise.

You can choose to address one text per paragraph and alternate between them, for example:

Introduction

BP1: Text A (theme/idea 1)

BP2: Text B (theme/idea 1)

BP3: Text A (theme/idea 2)

BP4: Text B (theme/idea 2)

As you can see from the structure above, you would need to refer in your first two paragraphs to a common theme or idea prevalent in both texts, comparing how the texts explore such ideas and drawing upon any similarities or differences, before repeating this pattern in the next two paragraphs. In this structure, it is easiest to solely focus upon text A in body paragraph one and then in body paragraph two to put most of the attention on text B, whilst also comparing it to the elements of text A examined in paragraph 1.

- Easy for the assessor to recognise which text is being discussed since this is a very straightforward structure

- Whilst writing the essay, you won’t be confused about which text you are focusing on in each paragraph

- Limited capacity to go in depth when comparing and contrasting the texts, which may lead the assessor to believe you haven’t really grasped the core concepts of either text

This approach is a bit more complicated than the first and will definitely take practice, patience and perseverance to master.

BP1: Text A and Text B (theme/idea 1)

BP2: Text A and Text B (theme/idea 2)

BP3: Text A and Text B (theme/idea 3)

In the body paragraphs of this structure, the writer will constantly alternate between the texts and a good essay of this form will make it clear which text is being referred to, even if the discussion constantly changes from text A to text B. Within each paragraph, the writer will consistently use comparative language to contrast both texts. Typically, each paragraph will place emphasis on a different theme or idea.

- This is a more sophisticated structure than the former; if it is done well, it will highlight to the assessor that you are able to utilise complex structures in a concise way that goes into minute detail when comparing the texts

- Capacity to implement more comparative language

- As you are writing an essay of this form, you might momentarily become sidetracked and confused as you will be constantly changing between referring to text A and text B, thus, it is easier for your ideas to become convoluted, rendering it difficult for the assessor to follow your line of thought.

For more information on essay structures, watch this video:

Useful vocabulary

A key component of structure is not just the layout, but also your choice of vocabulary. Assessors will be looking for key words that prove you are not merely discussing the texts separately in relation to the prompt, but that you are actually able to compare the texts. Some useful terms and expressions include:

Whereas/while/whilst

These texts are dissimilar in that…

These texts are not dissimilar in that…

Alternately…

On the contrary…

Contrarily…

Text A contrasts text B as…

On the other hand…

In a similar fashion to text A, text B…

Both texts…

Both authors…

However, this text takes a different approach…

(This text) parallels/mirrors (the other text) in the sense that…

These texts are alike in the respect that…

Both texts are related as they…

Finally, you have completed that tedious reading and comparing response and I strongly believe that that deserves a sweet treat and a pat on the back.

Although it may have been super challenging, I can assure you that as with everything, the more you practice, the easier it becomes! Consistency is key!

Get our FREE VCE English Text Response mini-guide

Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Unsure how to study for your Comparative SAC or exam?

• Learn LSG's unique CONVERGENT and DIVERGENT strategy which has helped hundreds of students achieve A+ in their assessments
• Includes sample A+ essays with EVERY essay annotated and broken down on HOW and WHY students achieved A+ so you reach your goals quicker
• Different types of essay structures broken down so you understand what to do and what not to do with confidence
• Learn how to stand out from other students with unique points of comparison

For an overview of English Language, the study design, what’s involved in the exam and more, take a look at our Ultimate Guide to English Language .

How To Effectively Build an Essay Evidence Bank

Essays in English Language require contemporary examples of language being used in Australia , in order to justify your response to the topic. English Language essays are often said to only be as good as the examples that are used, so it follows that your essays will only be as good and interesting as the examples that you find. It’s a really good idea to start collecting examples, or evidence, in a “bank” from day one, and throughout the year as you prepare for essay SACs and the final exam. Great examples not only lead your discussion, but also make your essay more interesting and therefore stand out.

What Makes a Good Piece of Evidence?

Primarily you want your evidence to comprise examples of how language is being used within a specific context in contemporary Australia . For instance, you might explore how leaders in Australia use overtly prestigious language with Victorian Premier Daniel Andrews’ use of the formal vocative phrase 'my fellow Victorians' at a press briefing. You may not always be able to find a specific instance of a particular language feature being used, which can be especially true for language that is not frequently used in public contexts, such as slang and ethnolects . It is okay to just have general examples that you discuss in these instances; perhaps the ellipsis (omission of understood words) of auxiliary verbs in varieties such as Greek Australian English . What is important is that the majority of your examples are actually instances of language features being used , and not simply a quote of someone else’s analysis of language, such as a linguist’s quote. Such quotes can be used in essays, but should complement your own discussion of your own examples.

Good examples must also be 'contemporary', as per the majority of essay prompts. As a general rule of thumb, ask yourself if the example you have is older than two years , and if so you may want to think of something newer. This does not mean you can never employ an older example. For instance, you may want to discuss language change in an essay, which sometimes necessitates discussing the historical context of certain language features.

How To Build an Example Bank

Many students find it highly beneficial to create a table or list of examples that they will practice and get comfortable with – you cannot bring this into the exam of course, but it is a very effective tool for preparation. In your table or list, consider including the following:

• Your example itself (this may not always be just a quote, sometimes you might have a phonetic transcription, for instance)
• The context that surrounds the example
• The metalanguage that you can use to analyse it
• The areas of the study design and essay topics it can cover
• A few short sentences of analysis

An example is given below:

These examples do not necessarily have to be something that you put a huge effort into going out and finding, so long as you make sure that you write down interesting language features that you come across in your day-to-day life . Keep an eye on places like the news, social media ( including emojis and text speak ), and any Australian television, radio, podcasts you watch or listen to. You will of course also discuss different examples of contemporary language use in class too, so make sure to add them as well.

Getting evidence is only step one of preparing for essay writing in English Language, but is the most important step for writing interesting and engaging essays. Keep in mind that this doesn’t have to be a solo activity; collaborating with classmates and group discussions, especially as you prepare for the exam can be a great way to make evidence collection fun. Be sure to check out our other blog, What Is an English Language Essay? for other tips and tricks to make your essays stand out.

We’ve explored themes, literary devices and characters and development amongst other things over on our After Darkness by Christine Piper blog post. If you need a quick refresher or you’re new to studying this text, I highly recommend checking it out!

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

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

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

Let’s get into it!

The Prompt: 

‘While Ibaraki clearly suffers the consequences of his actions, it is those closest to him who pay the highest price. Discuss.’

Step 1: Analyse

This is a theme-based prompt, and the keywords are: suffer, consequence, actions and highest price . You want to explore both the evidence that supports the statement and also any evidence that may offer a contradiction to the statement. From here you can find the definition of the keywords to help develop some questions to explore.

Step 2: Brainstorm

To suffer is to be affected by or subject to something unpleasant. 

• Is Ibaraki the only one who suffers? Who else suffers? Kayoko, Johnny, Stan, Sister Bernice.
• How do characters deal with their suffering differently? Kayoko and Sister Bernice abandon their relationships with Ibaraki, Johnny becomes agitated and spiteful, Stan becomes depressed. 

A consequence is a result of an action. 

• Are the consequences negative or positive? Johnny being outspoken in the internment camp angers the traditionalist Japanese, but creates a sense of kinship amongst the half-blood Japanese. 
• Can characters overcome these consequences or learn from them? Ibaraki eventually learns from his mistakes and grows as a result. 

An action is the process of doing something, typically to achieve an aim. 

• Is it Ibaraki’s actions, or lack thereof that lead to consequences? It is often his silence and obedience that cause trouble. For example, not telling Kayoko about his work leads to the failure of their marriage.  
• Is it only Ibaraki who makes mistakes? Sister Bernice ignores her religion to confess her love for Ibaraki. 
• What are the factors that cause the characters to act in the way that they do? Ibaraki’s guilt and fear of authority and judgement prevent him from speaking up on multiple occasions.  

Highest price refers to Ibaraki’s suffering being above all else. 

• Is this true? Ibaraki loses his dignity, his friends, his wife, his unborn child, his family, his job and his freedom. However, he does partially regain these.  
• Who suffers the most? Kayoko has a miscarriage and her marriage to Ibaraki fails. Stan is assaulted by other internees and is eventually killed by a guard. Johnny becomes an outcast in his community and is bullied by other internees.  

At this point, you can begin to group your ideas and evidence from the text to support your claims.

Throughout the novel, Piper uses a variety of literary devices including dialogue, simile and foreshadowing to convey her message of every action having a consequence . The most prominent of these is her use of imagery and metaphor which she uses to illustrate Ibaraki’s guilt and the way it impacts his actions. However, the story is not only centred around Ibaraki. Piper also highlights that people will often face consequences no matter what decision they make. She does this through her use of foil characters (characters who are used to highlight a particular trait in another character). For example, Ibaraki’s fear and obedience are emphasised by the courage of Kayoko and Johnny Chang. These characters, alongside Ibaraki, face suffering as a result of their actions. 

From these ideas, the main themes I am going to explore are what factors affect the character’s actions, and how the consequences of these actions can lead to negative, but also positive change. 

Step 3: Create a Plan

Paragraph 1:

• Whilst the novel centres around Ibaraki’s actions and their consequences, he is not the only character that makes mistakes and is forced to face the repercussions.

Paragraph 2:

• It is not necessarily Ibaraki’s actions, but lack of action that often results in the suffering of those around him. Consider the reasons for his lack of action: his blind devotion to authority, his fear of judgement, his ongoing guilt and regret from previous situations.
• Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, but it is not the only factor.

Paragraph 3:

• Ibaraki may pay the highest price for his actions. The structure of the storyline to include a chapter from Ibaraki’s perspective years later indicates that these consequences have ultimately led to positive change.

Now it is time to write the essay!

Set during the Pacific War, Christine Piper’s After Darkness explores the difficulties and misfortunes many face during wartime. Depicting the rise and fall of Japan’s war efforts (1) , After Darkness highlights that all actions have consequences of varying severity, particularly those of protagonist Dr Ibaraki Tomokazu. Throughout the novel, Ibaraki’s lack of action perpetuates the suffering of those closest to him, however, this is shown to be one of many factors and often initiates positive change within him, allowing his character to develop. Fundamentally, After Darkness highlights that change can only occur if people face the repercussions of their actions. (2)

Annotations (1) In the introduction, it is important to introduce the text with context . As After Darkness is predominantly set in 1942 during wartime in both Japan and Australia, it is important to include this in the introduction in order to explore the essay topic with a complete understanding. 

(2) Another key part of the introduction is to briefly introduce the topics you will discuss throughout the essay.

Throughout the novel, Piper emphasises the idea that all actions have consequences, however, this idea is not limited to Ibaraki. Across the three novel strands, protagonist Dr Tomokazu Ibaraki’s suffering as a result of his mistakes is depicted through both his internal and external dialogue. Ibaraki makes many significant mistakes throughout his lifetime, one of these being his failure to perform a dissection of a child when working at Unit 731. Despite ‘not [being] [him]self’ (3) when asked to perform the operation, Ibaraki is promptly fired. His termination of employment is not the only consequence of his failure, as shame continues to take over his confidence. This is illustrated when he was ‘unable to go on’ during an operation in Broome, despite being in a completely different scenario. Through Ibaraki’s flashback of ‘Black dots on a child’s belly’, Piper indicates the torment and lasting effects of consequences on an individual (4) . Whilst the novel centres around his mistakes, it is revealed that Ibaraki is not the only character who is forced to face the repercussions of their actions. Despite acting as foils for Ibaraki and presenting many different qualities, Australian internees Johnny Chang and Stan Suzuki also struggle immensely to overcome the results of their behaviours. Johnny Chang’s outspoken nature is often shown to cause disruption among the camp, for example, labelling the imperialist Japanese as ‘emperor worshipping pig’s.’ In standing for his beliefs, Johnny creates a tense division within groups, leading to the half Australian internees being treated like ‘outcasts’. Conversely, Stan’s introverted behaviour results in his eventual death (5) . Piper’s contention that all actions have consequences is arguably enforced strongly through Stan’s death, as it results from the failure of many characters to act. Ibaraki’s inability to open up, Johnny’s selfishness and Stan’s loss of self are inevitably all factors leading to his eventual demise. This is ultimately reinforced when Johnny states ‘It should’ve been me Doc’, indicating he has finally realised his role in the tragedy.

Annotations (3) In order to embed quotes , words, prefixes and suffixes can be added to ensure the sentence flows correctly. However, you must indicate that you have edited the quote by placing your changes in square brackets. Here, the original quote was ‘not myself’ but it has been changed to fit the sentence. 

(4) Whilst it is important to include quotes, it is even more important that you analyse how the author uses the quote to convey a message. In this case, the example of one of Ibaraki’s many flashbacks is used to bear Piper’s belief that one cannot escape the repercussions of their actions.

(5) Comparison is a powerful way of exploring the author’s ideas throughout the text. Here, Johnny’s outspoken nature is contrasted with Stan’s ‘introverted behaviour’, yet both concede repercussions. This supports the idea that all actions have consequences, no matter their nature.

Ibaraki’s lack of action acts as a perpetuating factor for the suffering of those closest to him, however, it is not the only factor. After Darkness shows the faults in many of Ibaraki’s actions, suggesting his mistakes lead to the misfortunes of many of those around him but this is only partially true. Stan Suzuki’s death is a pivotal moment in the novel where Ibaraki begins to truly express his emotions and open up about the pain he feels (6). Ibaraki realises that he ‘could have done something’ when opening up to the investigators of Stan’s death, leading to the conclusion that Ibaraki is to blame. Piper illustrates that suffering results as a combination of factors through the later revelations of Johnny’s escape attempt and the instability of the ‘trigger-happy’ guard who shot Stan. This idea is reinforced through the breakdowns of Ibaraki’s close relationships with Kayoko and Sister Bernice. Whilst Ibaraki’s emotionally distant nature catalysed the loss of these significant relationships, it was not the only factor. Both Kayoko and Sister Bernice are structured with similar characteristics in the novel, one being their confidence and strength in their beliefs. Nevertheless, both women lack this characteristic when it comes to their relationship with Ibaraki (7) . Ibaraki admits his separation from Kayoko is his ‘greatest regret’, and whilst the first-person perspective does not give an insight into Kayoko’s side, she is shown to lack her usual self-assuredness. Similarly, Ibaraki’s allowance of ‘silence [to] stretch between…’ him and Sister Bernice is hurtful and a failure on his behalf, yet she still willingly confesses her feelings, aware of the risks involved. This is evident when ‘her eyes dart away from [his]’, implying she is ashamed of her statement as it contradicts her religion and the terms of their work relationship and friendship. This results in an abrupt end to their friendship as the embarrassment of the repercussions of her actions overwhelm Sister Bernice. Whilst the series of mistakes that Ibaraki makes throughout the novel show that his actions cause grief for both him and the people around him, they also highlight that the misfortune of others is not always the fault of one individual.

Annotations (6) Referring to specific events in the text is extremely useful to support your ideas and claims. However, it is important that you avoid over-explaining the event, as this will lead to you retelling , rather than analysing the text. See How To Avoid Retelling the Story for more tips. 

(7) An often-overlooked literary device is the use of foils . A foil is a character that is used to highlight a particular trait in another character, often a flaw. In this case, Piper uses the similarities between Kayoko and Sister Bernice, and the ultimate failure of their relationships. This highlights Ibaraki’s repetition of his mistakes, which we can attribute to his ongoing guilt. 

Ibaraki ultimately pays the highest price for his actions; although this is shown to result in positive change. Through her descriptions of Australia and Japan, Piper uses the juxtaposition of light and dark imagery to illustrate how suffering can lead to learning and growth. Facing racism in Broome when labelled as a ‘Bloody Jap…’, trauma from his experiences in Unit 731 and hardship during his internment at Loveday, Ibaraki is constantly a victim of circumstance. Even so, the pressures and torment of these events force him to seek the support of others. The colourful descriptions of the ‘pink spur of land crested with green’ foreshadow the positive change to come for Ibaraki (8) . This becomes evident when Ibaraki finally opens up to Stan in the infirmary about his separation from Kayoko. Ibaraki’s development as a character continues as he learns to trust despite the unfair circumstances of being interned. Although memories of trees haunting the river’s edge ‘like lost people’ and the bark of red trees appearing ‘like blistered skin’ continue to plague Ibaraki’s conscience, they force him to confront his past and in turn begin to heal. Through the retrospective novel, Piper describes Japan as where ‘darkness crowded the corners’ and Ibaraki worked ‘in the basement’, indicating his misguided obedience and attachment to silence. This not only illustrates (9) Ibaraki’s trauma, but emphasises his drastic development through his experiences. The importance of the consequences Ibaraki has faced throughout his lifetime are reinforced in the final pages of the novel after he reads Sister Bernice’s letter and has an epiphany. The discovery that he had ‘clung to the ideal of discretion’ creates a sense of hope for Ibaraki’s future and emphasises his newfound understanding of life through the consequences he has faced. (10)

Annotations (8) Ensure you don’t just randomly place quotes throughout the essay, but instead, analyse them to give them meaning. An easy way to do this is by including the quote , its connotations and what emotions or ideas they provoke, followed by why the author has used it. In this case, the quote was the ‘pink spur of land crested with green.’ Its connotations were positive such as colour, happiness, and hope. These connotations were used to foreshadow positive change. 

(9) Using a variety of vocabulary such as ‘illustrates’, ‘explores’ and ‘demonstrates’ shows that you are not only identifying what the author is doing but that you understand how and why they have done it in this way. This is ultimately the goal of a text response essay. 

(10) It is important to ensure the flow of your essay to show sophistication in your writing. It is not only the ideas you have, but the way in which you convey and explain them that ultimately indicates your understanding of the text. A simple way to do this is to use a summary sentence at the end of each topic that subscribes to the idea and links to the previous or following paragraph. 

Essentially After Darkness highlights the necessity of facing consequences for our actions to promote learning and growth. Whilst Ibaraki and many other characters suffered as a result of their behaviour, Piper asserts that Ibaraki is not the overall perpetrator but ultimately pays the highest price of all. (11)

Annotations (11) Just like the introduction, the conclusion is a brief summary of the discussion topics throughout your text response. Most importantly, after exploring all of the evidence you must form a stance in relation to the essay topic. Many students believe that this needs to be a simple and definite yes or no, which is not the case. Instead, I have suggested that Ibaraki is not the only one to blame for other character’s suffering, but that ultimately, he paid the highest price. Check out 5 Tips for a Mic-Drop Worthy Essay Conclusion if you need more help finishing your essay off with a bang!

If you found this essay breakdown helpful, then you might want to check out our After Darkness Study Guide which includes 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!

After Darkness 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 .

This blog was updated on 28/10/2021.

Essay Topic Breakdown

• Sample Essay Topics
• Useful Resources

Themes (Similarities and Differences)

[Video Transcription]

We’ll be applying the CONVERGENT and DIVERGENT strategy from LSG’s How To Write A Killer Comparative and at how ideas are developed in similar or different thematic directions in these texts. CONVERGENT ideas lead to similar conclusions and messages, while DIVERGENT ideas take us to different conclusions. If you’d like to learn more about this strategy which can help you build more insightful discussions of the text by finding unique points of comparison, then I’d recommend you check out the LSG’s How To Write A Killer Comparative study guide. In the meantime, let’s start with some CONVERGENT ideas. 

Power, Race and Oppression

In both texts, we see racial systems that take power away from Bla(c)k people. In the play, settler-colonialism is a big one. It’s depicted as a home invasion, a ship taking up a whole harbour, and as a process of devaluing land and ignoring its custodians. This trickles into contemporary institutions (widely understood patterns, rules or structures within society) which perpetuate these dynamics of race and power, such as the police and the media. Oppression is similarly maintained in  The Longest Memory , where physical violence, and even just the threat of possible physical violence, is used to enslave African Americans. Plus, all of this racial violence was justified by the socio-economic interests of enslavers . Both texts see Bla(c)k people disempowered by a range of white institutions. 

Check out our comparative scene analysis where we explore this theme in more depth.

Family and Community

On the other hand, family and the wider community are depicted as a galvanising or healing force in both texts. In  The 7 Stages of Grieving , we see how death can bring together entire communities to commiserate, dance and mourn collectively, drawing on one another’s strength. Depictions of families in projections of photographs also outline how joy and solidarity can be drawn from community. In the novel, family ties are also important. Whitechapel and Cook build a committed relationship to one another; she even says, “he proves he loves me every day.” At the same time, Cook also provides her unconditional love and support to Chapel, whose education and eventual relationship with Lydia are facilitated by her.

Memory and Grief

Both texts show how memory and grief are significant burdens for Bla(c)k people and operate at multiple dimensions. The play is sort of built around the five stages of grief but demonstrates how First Nations grief isn’t neat or linear. It can go from highly expressive to numb in moments. It also has roots in Australia’s genocidal history such that the death of any First Nations person—but especially elders—is felt widely. In  The Longest Memory , there’s a physical dimension to Whitechapel’s grief. He earns the name “Sour-face” because of the worry lines that developed after Chapel’s death. He feels extremely guilty and only after Chapel dies does he realise why Chapel disagreed with him so stubbornly in life. He actually learned the tough lesson that he’d been hoping to teach Chapel.

What about divergent ideas? Let’s break down two now.

Struggle and resistance.

Both texts offer ideas about what the fight against racism might look like, but at times these ideas are more different than similar. In  The 7 Stages of Grieving , the main struggle is to be heard and understood . In the play and in real life even, we can see how the media is stacked against First Nations peoples, so their fight is about cutting through the bias and making sure they are fairly represented. In  The Longest Memory , the fight against slavery is portrayed quite differently. In a scenario where physical violence was used the way it was in order to oppress, self-emancipation was seen by many as the only path out. Enslaved workers weren’t fighting to be heard, they were fighting to survive. It’s also worth bearing in mind the history of abolition, which happened in Northern states first. This gave them a destination, as well as hope. 

The Generation Gap

The other thing that the texts diverge on is the relationship between parents and children. In the play, family is consistently shown to provide support and community. As the woman speaks about her father and brother, the unconditional love and support between them is palpable. However, the novel depicts a bit more conflict— Whitechapel argued with Chapel based on his lived experience, and the many young people he had seen be killed for trying to free themselves. However, Chapel was far more committed to freedom than to survival. There isn’t necessarily a ‘right’ answer either way, but this definitely isn’t a tension that we see in the play.

I discuss all these themes in further detail in A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory . In this guide, I offer you a deep dive into these two texts through plot summaries and analyses, structural features, critical readings, and best of all, 5 sample A+ essays fully annotated so you can understand exactly how to achieve better marks in your own essays.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE technique, as taught in our How To Write A Killer Text Response . The LSG's THINK and EXECUTE technique follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

Let's use essay topic #1 from the section below.

Compare the ways in which the two texts explore the possibility of social change.

‘Social change’ is a key term here, but the word ‘possibility’ also stands out to me. Social change—probably towards equality—isn’t something that just happens, so the prompt also wants us to think about how to get there, and whether that seems achievable in the contexts of these stories. The prompt is phrased as an instruction (“Compare”) which invites you to analyse both texts together, but you totally knew that already!

I’d probably start by brainstorming what exactly needs to be changed. In each text, we see institutions and structures which are violent and harmful—from the play, police and the media, and from the novel, the economy itself. However, these institutions are upheld in different ways, and require different mechanisms of change—while the play emphasises grieving and unity, the novel focuses more on emancipation.

Because we’ve got two sets of ideas for each text, let’s alternate the texts (Essay Structure 1, as discussed in How To Write A Killer Comparative ) to cover these ideas in four paragraphs.

P1: Starting with The 7 Stages of Grieving , social change is required at the institutional level. Police and the media are racially biased, and Aboriginal people aren’t given a platform to tell their stories. Reconciliation needs to include Aboriginal voices.

P2: With The Longest Memory , social change is required across the economy that depends on enslaving people and stealing their labour, while others have an economic interest in the status quo.

P3: Because of this, change seems more possible in the play, and we start seeing it happen towards the end, as the ice thaws and people, Bla(c)k and white, march across the bridge together.

P4: On the other hand, emancipation is seen as the only path to change in the novel, as intergenerational social pressures among the enslaving class in the South are insurmountable.

So our contention will probably revolve around the idea that ‘social change’ means different things in each text as social inequalities exist at different levels (Paragraph 1&2)—as such, the ‘possibilities’ for that change look different as well (P3&4), particularly the extent to which white people can be involved in that change.

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory!

Sample Essay Topics 

Now it's your turn! Give these essay topics a go.

1. Compare the ways in which the two texts explore the possibility of social change.

2. How do The 7 Stages of Grieving and The Longest Memory present the emotional pain of racism? 

3. What do Aunty Grace and Chapel illustrate about the complexities of belonging to a racial minority?

4. Compare how the narrative structures of The 7 Stages of Grieving and The Longest Memory enhance their storytelling effect.

5. “People called him Boonie! He was known as Boonie…” (The 7 Stages of Grieving)

6. “I literally saw the boy surrender to that whip …” (The Longest Memory)  ‍

7. Compare how the two texts explore innocence.

If you're interested in reading a 50 study scorer's completed essays, along with annotations so you can understand my thinking process, then I would highly recommend checking out LSG's A Killer Comparative Guide: The 7 Stages of Grieving & The Longest Memory.

Useful Resources

How To Write A Killer Comparative study guide

The Ultimate Guide to VCE Comparative

Compare the Pair- A guide to structuring a reading and comparing essay

The link between your contention and topic sentences in relation to the prompt

‍ ‍ A Guide to Structuring a Reading and Comparing Essay

Reading and Comparing Essays

Most people commonly mistake Comparative (also known as Reading and Comparing, and an array of other names) as just two Text Responses rolled into one essay. They think that Comparative is Text Response, except that instead of writing about one text, you’re writing about two.

And boy are they wrong.

Most people are also aware that the main difference is that Comparative looks at similarities and differences between the two texts. However, this is where the challenge begins.

As you study your texts in detail, you’ll come to realise that the majority of students keep using the same old examples – example X for similarities, and example Y for differences.

To stand out from hundreds of other students studying the same texts, you need a strategy. You need something that will wow your examiners and will catapult you to the top of the VCE cohort.

*Drum roll*

Introducing you to my golden rule, the CONVERGENT and DIVERGENT STRATEGY!

This strategy is simple. It’s simple to understand and it’s simple to incorporate into your essays. Its beauty is that despite its simplicity, it’ll advance your essay beyond the average English student. All my students who have applied this strategy have seen their English scores improve by at least one grade (from B+ to an A, or from an A to A+).

Let me explain.

PART 1 – CONVERGENT 

The word, ‘convergent’ means coming closer together . When we start looking for similarities in Comparative, keep this word CONVERGENT in mind. Having CONVERGENT at the forefront of your mind will ensure that you are always aware of the fact that your examples are never the same. Notice how the blue arrows never touch:

Sometimes, students fall into the trap of referring to examples in each text as the ‘same,’ but this won’t ever happen to you if you keep CONVERGENT in mind. No two texts are ever exactly the same, no two examples are exactly the same , so avoid falling into this trap. 

Instead, you’ll be using phrases like: "similarly to Text 1, Text 2 also…" or "likewise, in Text 2….’"

Awesome! So this is the simple part done. Let’s move onto the most powerful part of this strategy - DIVERGENT.

PART 2 – DIVERGENT

The word ‘divergent’ means developing in different directions. We can use the CONVERGENT and DIVERGENT strategy for any example you include in your essay. Since no examples from two texts are exactly the same, this means there is always an opportunity for you to first compare the similarities, then compare the differences.

Rather than just a simple ‘on the other hand’ or ‘however’, which you probably have written a dozen times, and felt like you’re repeating yourself, we show you advanced ways to DIVERGE as in this example for Photograph 51 and The Penelopiad:

In The Penelopiad , the resigned way in which Penelope confides in the reader alludes definitively to the ‘overlooked woman’ stereotype being, in fact, a very well-used one. Atwood (the author of The Penelopiad ) does, however, accord some power to Penelope by ensuring that she alone tells her own story, a privilege which is not given to Rosalind in Photograph 51 .

See how in this example, we don’t even use the overused comparative words such as ‘however’ or ‘on the other hand’ which can make a comparative feel simple. Instead, we show you unique ways to compare the two texts so that your essay stands out amongst all the others that are just using the same old words and methods to compare.

If you’ve ever received feedback that you needed to ‘elaborate,’ ‘go into more detail,’ or needed ‘more analysis ’ in your essays, this strategy will help eliminate those criticisms. It will also show your teacher that you are comfortable writing an in-depth analysis using fewer examples (because you’ll be spending more time on each example - firstly by discussing a similarity, then a difference), rather than swamping your essay with as many examples as possible because you barely have anything to say about each one.

Too many students miss out on the opportunity to elaborate or expand on an example because they only write about either the similarity or the difference. But with the CONVERGENT and DIVERGENT strategy, we can see that no matter what example you choose from each text, there is always an opportunity to discuss both similarities and differences . This is an extremely powerful approach to comparative because it enables you to spend time comparing, rather than getting lots of examples of for one text in the first half of your body paragraph, slapping in an ‘on the other hand’ in the middle, then lots of examples for the second text in the second half of the body. I see students doing this all the time, pretending to compare these examples when they’re not - you know what I mean right? We’ve all been there once or twice - so you’re not alone in doing this if you’ve tried in the past. The thing is, with examiners, in particular, they’re really good at noticing when a paragraph looks like it’s a comparison, rather than a truly in-depth comparison between the two texts.

That’s why in my How To Write A Killer Comparative , I show you how to use CONVERGENT and DIVERGENT in multiple essay examples across many text pairs. It’s not just about one way of comparing similarities too, it’s all the different ways to can discuss ‘similarities’ - what I mean is, it can be easy to slip into a template of ‘similarly to text A, text B does this by…’ but in this study guide, written by myself, and study scorers who have achieved 50 in English , we show you how to unique discuss comparisons. We also show you how to advance your comparative discussion through Advanced Essay Paragraph Structures which truly showcase the power of the CONVERGENT and DIVERGENT strategy.

COMPARATIVE GUIDES

How to Write a Killer Comparative Ebook

A Killer Comparative Guide: The Crucible and The Dressmaker

A Killer Comparative Guide: I am Malala and Pride

A Killer Comparative Guide: The 7 Stages of Grieving and The Longest Memory

A Killer Comparative Guide: Ransom and The Queen

USEFUL RESOURCES

The Ultimate Guide To VCE Comparative

‍ Reading and Comparing essays

‍ How to get A+ in Reading and Comparing

Compare the Pair: A guide to Structuring a Reading and Comparing essay

Stasiland and 1984 are studied as part of VCE English's Comparative. For one of most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative.

‍ 1. Introductions

Stasiland is a memoir-style recollection of the author Anna Funder’s encounters with people affected by the years of the German Democratic Republic (GDR), or when Germany was divided into east and west. It marries the author’s personal growth and development during her period of research with the personal histories of those who acted as both perpetrator and victim of the regime’s atrocities. The result is an emotional and deeply human perspective of this heavily-documented period of history which delves into the lasting yet often invisible marks the GDR left on those it touched.

1984 is on the surface the dystopian narrative of the struggles and ultimate downfall of a man named Winston who lives in the depressingly grungy and hopeless world of Big Brother and The Party. In a more profound sense, however, it is author George Orwell’s warning concerning the possibilities inherent in the development of totalitarianism and how these might come to damage the human race.

3. Character Analysis and Comparison

When comparing the characters presented in these two texts, it is important to remember that Orwell’s are fictional and Funder’s are her retellings of real people’s stories. Take care to avoid discussing Funder’s characters as constructions, and focus instead on how she has chosen to portray them.

4. Sample Paragraphs

Prompt: Discuss the different ways in which the authors of Stasiland and 1984 explore the intricacies of state power and knowledge.

Sample Introduction

When significant knowledge in any form is gained, it follows that it can be used in any way an individual or group sees fit. Stasiland and 1984 both show that the same piece of information can be used in drastically different ways to suit the purpose of that information’s owner. In both texts, we can observe this in many areas: mass surveillance for security or espionage purposes, recordkeeping to retain the truth or warp it, and medical or physiological advancements used to solve humanity’s problems or deliberately harm and deform people. Such examples force us to consider two well-known maxims, and to decide between the bliss of ignorance and the power of knowledge.

Sample Body Paragraph

In theory, mass surveillance has many benefits; it could be used to prevent criminal activity such as large-scale terrorist attacks and ensure the happiness and wellbeing of citizens. However, it is almost never associated with anything positive. In George Orwell’s 1984 , we are introduced to his hypothesis concerning what it would be like if it were to become developed to its full extent. The concept can be divided into three levels; firstly there is the obvious, external activities that we observe in both texts, which include mail screening, a military or gendarme presence in the streets and a network of informers. Secondly there is the introduction of the state into the home, which is achieved by The Party mainly through the telescreen, the most prominent and sinister instrument of mass surveillance in Oceania which gives total access to individual behaviour in the privacy of the home. While Winston seems to have found a loophole in this area by being ‘able to remain outside the range of the telescreen’, The Party carries its mass surveillance to the truest sense of the expression by extending it to a seemingly impossible third level, which introduces the state into ‘the few cubic centimetres inside [the] skull’. Interestingly, while the Thought Police cannot truly ‘see’ what is inside someone’s head, they can still control it; as long as people think that someone can see their thoughts, they will censor them themselves. This shows that the beauty of mass surveillance is that it does not actually have to be universal or all-encompassing to be successful. This is why the Stasi did not need to go to the lengths of The Party to achieve a similar result; the people merely need to believe that it is so on the basis of some evidence, and through this they can be controlled. Ultimately, mass surveillance can never be anything but destructive for this reason; it could put a complete halt to all terrorist plots and it would still act against the people by insidiously forcing them to censor their own thoughts out of fear.

Sample Conclusion

Both Stasiland and 1984 show absolutely that knowledge is a fundamental and intrinsic part of power, as it cannot exist without knowledge. While it is true that knowledge can be held without exercising it in some external display of power, it always shapes the person who holds it in ways both subtle and direct. Knowledge can therefore be seen as similar to Pandora’s Box; once it exists in a mind, it alters it, and the actions it prompts depend only on the desires and will of that mind .

In order to properly understand either of these texts, you’ll need to put on your history hat. Both of them are very firmly rooted in historical events, and to get a good grasp on what they really mean, you need to understand these events. You should research communism and socialism fairly extensively as well as the GDR, but you don’t need to sit for hours and write a book on the subject. All you need to do is trawl through Wikipedia for half an hour, or as long as it takes to get a sense of the subject. They key is to not ignore things that you don’t understand; if you see terms like ‘Eastern Bloc’ or ‘Marxism’ or ‘The Iron Curtain’ and you’ve got no idea what they are, research them! Even terms that you might believe you’re familiar with, like ‘Communism’ could also use a refresher.

The other main point is that 1984 particularly deals very heavily in ideological and philosophical argument. Orwell constructed the events of the plot as one giant hypothetical situation, so try and think to yourself – could that really happen? Is that really possible, or is this whole thing just plain silly? Remember that this text is much, much more than a simple narrative, and address it as such

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Written expression is often overlooked in our essays. Often, if we are made aware of clunky or awkward expression, we are also not quite sure how to go about improving it. Although sophisticated and pertinent ideas serve as the foundation of a successful essay, how we construct our sentences and express these ideas may be what distinguishes a good essay from a great essay.

These differences can be rather subtle, but the small things can and do matter.

1) USE YOUR VOCAL CHORDS  

(to read out loud, not sing… unless you really want to)

Take your essay and read it out loud. Let your own conscience guide you in terms of whether a particular sentence flows well, is complete and makes sense. Keep your eye out for these small errors in particular: Grammar: Does your sentence actually make sense? Let’s have a look at an example: Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on.

(This is not grammatically correct! This is because this example only contains a subordinate clause and is lacking a main clause.)

But wait… what is this ‘subordinate clause’ and ‘main clause’?

A clause includes a subject and a verb .

Melissa ate an apple.After Wendy ate an apple.

What is the difference between the two clauses above?

‘Melissa ate an apple’ makes grammatical sense on its own. This is what we call a main clause (or an independent clause). On the other hand, ‘ After Wendy ate an apple’ is an incomplete sentence as it does not make sense. What happened after Wendy ate her apple? This is the information that is missing from the latter clause, making this a subordinate clause (or a dependent clause).

So now let’s try again…

Although Funder suggests that the act of telling one’s story, especially one of victimisation, can catalyse the internal confrontation and healing required to move on, ultimately, these individuals can never be truly free from the past that has irrevocably defined them.  

(Hooray! This is a complete sentence now.)

Spelling : Are the title of the text, the author or director’s name, characters’ names, publisher’s name, etc. all spelt correctly (and capitalised, underlined, and italicised appropriately)?

Did you use the correct there, their and they’re? How about it’s and its? (and so on).

Sentence length: Did that sentence just go on for 5 lines on a page and you are out of breath now? You can most probably split that overloaded sentence into two or more sentences that make much more sense. Check whether you have a clear subject in your sentence. If you have three different ideas in one sentence, give each idea its own opportunity (ie. sentence) to shine. The opposite also applies: if it is for a very short sentence, did that sentence pack enough content or analysis?

One spelling error or half-finished sentence in an essay will not severely affect your mark, but they can easily add up if they occur often enough. Consequently, this will distract the reader from engaging with your ideas fully and thus disrupt the flow of your essay.

By being aware of these aspects, you are now able to easily fix them and boost your writing.

2) BE SUBTLE

Try not to be casual or overt in your writing as it can be quite jarring to read and unfortunately give readers a potentially negative impression of your piece.

Try not to use phrases such as:

- In my opinion… (You do not need it as your entire essay should be your implicit opinion!)

- This quote shows that… (Embed the quote and link to its implication instead)

- This technique is designed to… (Identify the technique and be specific, especially in Language Analysis)

- I think that…, I believe… (Avoid using first person in a formal essay. Use of first person in creative writing is fine though if required)

They are redundant and do not add much to your ideas and analysis. Try omitting them and see whether that helps your sentence flow better and seem more formal.

3) LINK ‘EM UP

Sentences that seem disjointed or a clear connection can make it difficult for your teacher or the assessor to join the dots between an idea and an implication or consequence. Use linking words as they are fantastic for explicitly showing the reader how your ideas are related and thus allow your writing to proceed smoothly.

Therefore, hence, thus, thereby, consequently, subsequently, in addition, additionally, furthermore, moreover, on the other hand, on the contrary, however, henceforth, and so on… The list is endless!

4) ADD OOMPH (through vocabulary)

In general, having a wide vocabulary will allow you to express your ideas and analysis more accurately as you are likely to have access to a precise word that can capture the essence of your idea. Make a vocabulary list for a particular text or for Language Analysis (such as tone words) and aim to use varied language to convey yourself well.

If you’d like to see a list of sentence starters and essay phrases to help you get a headstart on expanding your vocabulary, check out this blog .

Focus on verbs and expanding your list of synonyms for words such as shows, demonstrates, highlights, emphasises, suggests and so on. An individual, character, author or director may not only be conveying but also denigrating or remonstrating or bolstering or glorifying or insinuating . Adding precision to your writing through careful vocabulary choice will distinguish your writing and also add complexity.

BEWARE! There is a fine line to tread with sophisticated vocabulary - do not overload your writing as you can risk writing convoluted sentences that hinder the reader’s ability to understand your piece. Also make sure that you understand the nuances of each synonym and that they are used in the correct context! (They are synonyms after all - not the same word!)

If you are debating whether to use a word, ask yourself: do you know what it means? 

If yes: Go for it!

If no: Do not use it until you know what it means.

Reading sample essays, The Age Text Talks, reviews and more of the texts you are currently studying will expose you to not only a multitude of interpretations of your text, but also to different sentence structures, writing styles or vocabulary that you could incorporate into your own writing.

I would also highly recommend that you read outside of the texts you are studying if you have time, whether that may be novels by the same author or even newspapers. Your written expression will only benefit from this exposure as the ways you can express yourself through writing continue to increase upon seeing others’ eloquence.

6) GET WRITING

If you do not write, you will never be able to improve your written expression. Put pen to paper (or hands to keyboard) and start constructing that essay. You can only fix your writing once you have writing to fix.

Measure for Measure is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

INTRODUCTION ‍

Ahh William Shakespeare. That guy. You’re probably thinking, “Great. More fancy language. Hasn’t he been dead for centuries? Why does he keep popping up in our English curriculum?”

At least, that’s how I reacted.

Shakespeare is actually a huge figure in the history of the English language, and really no high school English curriculum is complete without a mandatory dose of him. In fact, the current VCAA study design demands that one of his texts must be on the text list. What a legend.

Shakespeare doesn’t only influence our world in the classroom. The Bard coined many words and phrases that we use today. We can thank this playwright for “be -all, end-all”, “good riddance”, and my personal favourite, “swagger”.

The Bard’s play “Measure for Measure” was first performed in 1604; over 400 years ago. So why do we still study his works today? In fact, the ideas and themes that are evoked in his plays are universal and timeless; pertinent to his contemporary counterparts, as well as today’s audience. Shakespeare’s plays are like soup (bear with me, this is going somewhere). One could say the playwright is a master chef; he mixes tales of the human condition and experience and asks us to question people and ideas. Everyone, regardless of their time, will gobble up the story.

So, what is this soup- I mean ‘Measure for Measure’ about? The play is known as a “problem play” and/or “tragicomedy”. That’s right, it’s both a tragedy and a comedy. Dire trials and tribulations are intertwined with humorous gags and jokesters. I guess Shakespeare couldn’t choose just one.  

‘Measure for Measure’ is also a problem play. Critic W.W Lawrence defined a problem play as one in which "a perplexing and distressing complication in human life is presented in a spirit of high seriousness ... the theme is handled so as to arouse not merely interest or excitement, or pity or amusement, but to probe the complicated interrelations of character and action, in a situation admitting of different ethical interpretations".

Ok, crazy, but he also said that "the 'problem' is not like one in mathematics, to which there is a single true solution, but is one of conduct, as to which there are no fixed and immutable laws. Often it cannot be reduced to any formula, any one question, since human life is too complex to be so neatly simplified.”

In short, a problem play presents lots of complications and issues that are open to different ethical interpretations. As in “Measure for Measure”, the “problem(s)” is/are not always solved.

So, what actually happens in this play that is problematic? What are our ingredients in this problem soup?

‍ P(L)OT SUMMARY

Get it? Cause soup is cooked in a pot. Sorry.

The Duke of Vienna appoints his deputy, Angelo, as the temporary leader. This Duke then pretends to leave town but instead dresses up as a friar to observe what happens in his absence. Angelo, strict and unwavering in his dedication to following the rules, decides to rid Vienna of all the unlawful sexual activity; including shutting down the brothels. Prostitutes like Mistress Overdone (pun alert) and her pimp Pompey are poised to lose their livelihoods. Laws against this activity exist, but they’ve gotten lax over the years. Angelo, a stickler for the rules, has Claudio arrested because young Claudio has gotten his engaged wife-to-be (Juliet) pregnant before they were officially married. Claudio is to be executed.

The virtuous Isabella, Claudio’s sister, is poised to enter a nunnery. Upon hearing of her brother’s arrest and sentence, she goes to Angelo to beg him for mercy. He hypocritically, in an absolutely dog move, propositions her, saying he’ll pardon her brother if she sleeps with him (with Angelo, not Claudio). She immediately refuses, being the religious and chaste woman that she is. At first Claudio is upset because he wants to live, but then he calms down and accepts death.

Luckily, the Duke (secretly dressed as a friar) helps in their sticky situation. He brews up a plan; Angelo’s former flame Mariana was engaged to him, but he broke off their engagement after she lost her dowry in a shipwreck. The Friar (Duke) plans to have Isabella agree to sleep with Angelo, but then send Mariana in her place. In theory, Angelo would pardon Claudio and be forced to marry Mariana by law.

The old switcheroo goes off without a hitch. But come morning, Angelo refuses to pardon Claudio, fearing he will seek revenge. The Duke, in collaboration with the Provost, send Angelo the head of a dead pirate (Ragozine) who died of natural causes. They claim that it’s Claudio’s head, and Angelo is satisfied, thinking him to be dead. Isabella is also told that her brother is dead and is encouraged by the Friar (Duke) to complain about Angelo to the Duke, who is returning home.  

The Duke makes a grand return to Vienna, saying he will hear any complaints immediately. Isabella tells her story, and the Duke feigns disbelief, despite having orchestrated the plan himself. In an act filled with more twists and turns than a Marvel movie, everything comes out; the Duke reveals he was a friar all along, Angelo is forced to confess, and Claudio is pardoned amongst other things. To top it all off, the Duke proposes to Isabella. Crazy!

HISTORICAL CONTEXT

It’s important to acknowledge what was going on in the world during the writing of a text. This may help give insight into why the author has included (or not included) some aspect of their work.

The Divine Right of Kings

This holy mandate states that a monarch derives his right to rule from the will of God and is not subject to earthly authority. The “king” or monarch is hence practically divine, and questioning his orders is also questioning god; blasphemy.

The Great Chain of Being/Class divides

This chain is a hierarchy of all life forms and matter in the following order:

• Kings & Royalty
• Commoners (Gentry, Merchants, Yeoman, Laborers)
• Non-living things

Hence, alongside The Divine Right of Kings, this ideal gave monarchs huge power over their subjects.

In early 1600s England, there was a defined social hierarchy and class system. Everyone had a place in the hierarchy, and there was little movement between the classes. Within each class, men were considered superior to women.

Shakespeare encourages us to ask a few questions of our supposedly holy leader and his actions. According to the Divine Right of Kings, the Duke is god’s right-hand man, and thus all his decisions are holy and backed by heaven. However, the Duke is pretty shady when he plots his bed-trick plan with Isabella and Mariana. Is this deceptive behavior still holy? Furthermore, is it not sacrilege to pretend to be a holy friar when one is not truly a holy man?

Moreover, when the Duke assigns Angelo as his deputy, would this transform Angelo into a divine ruler too? Could he be divine, considering his cruel rule and despicable request to Isabella?

Women were considered subservient, lower class citizens then men. Alliances were forged between powerful families through arranged marriages of daughters. These girls may have received an education through tutors attending their homes (there were no schools for girls), but their endgame would be marriage, children and maintaining the home. Women and girls of a lower class did not receive any formal education but would have learned how to govern a household and become skilled in all housewifely duties. Impoverished and desperate women (Mistress Overdone) would turn to prostitution to stay alive.

Shakespeare perhaps highlights the struggle of women in his female characters; Isabella, Mistress Overdone, Juliet, and Kate Keepdown. Their futures appear bleak; Isabella is poised to enter a nunnery, Juliet’s husband (her only source of income and protection) is to be executed, while the brothels that facilitate Mistress Overdone and Kate Keepdown’s livelihoods are being closed down by Angelo.

Jacobean Audience

It was a tumultuous time when Shakespeare penned ‘Measure for Measure’ in 1604. A year earlier came the end of the 45 year long Elizabethan era and began the Jacobean era under the rule of King James. Since the late Queen Elizabeth had no direct heirs, King James of Scotland (a relative) took to the throne. Little was known by the English people of this foreign king.

Perhaps, as Shakespeare portrays the ruler in ‘Measure for Measure’ as clever and good-hearted, the Bard sought to appease the king by calming the people and encouraging them to trust in their new monarch.

The playwright characterizes the Duke as loving his people, but not enjoying being before their eyes and in the spotlight; much like King James, a quiet ruler who relished studying privately in his great library.

‍ Playhouses and Brothels

The general public (commoners) paid a penny (could buy you a loaf of bread back in the day) to see Shakespeare’s plays, standing in the “yard”; on the ground, at eye-level of the stage. The rich (gentry) paid 2 pennies for seating in the galleries, often using cushions. The really rich (nobles) could watch the play from a chair set on the side of the stage itself. Shakespeare’s plays were performed at the Globe Theatre. Playhouses in Shakespeare's time were often close to brothels, both in terms of their physical locations in the suburbs and the way they were viewed by some of polite society. Thus, Shakespeare's relatively sympathetic portrayal of sexual deviance in ‘Measure for Measure’ may also constitute a defence of other suburban entertainment—his plays—and a way to humanize lower classes who patronized them.

WRITING ABOUT 'MEASURE FOR MEASURE'

If you’re lucky enough to study this interesting piece, the study design requires you to prepare “sustained analytical interpretations…discussing how features of the text create meaning and using textual evidence to support (your) reasons”. Basically, you’ll be given a topic; this topic could surround themes, characters, etc., and you must write analytically.

While you may choose to structure paragraphs around themes, ideas or characters, make sure to embed some historical context in there; that’ll show the examiner that you’ve done your research and have a thorough and deeper understanding of why Shakespeare put this or that in. Talking about authorial intent in your analytical essay leads to a more in-depth analysis.

“Shakespeare portrays characters that are flawed as a result of pre-destined circumstances. These characters, such as bawd Pompey and prostitute Mistress Overdone, lived in a time when there existed strong class divides, and movement within the social hierarchy was rare. As per the “Great Chain of Being”, a contemporary religious dogma, there was a hierarchy of all living things and matter, from lofty God and his angels down through the ranks of men and finally to animals and non-living things. In some cases, attempting to move up the social ranks was even considered a blasphemous rejection of the fate chosen by God.”

- embedding historical context (The Great Chain of Being) into a paragraph that discusses characters being flawed because of their circumstances

“Shakespeare offers characters such as Isabella and The Duke who strive for self-improvement through understanding and temperance. Perhaps the playwright suggests that perfection is very difficult if not impossible to attain, even for a ruler like the Duke and a pure soul like Isabella. However, he posits that it can be strived for and that perhaps this attempt to become better is what truly matters.”

- talking about authorial intent - what is Shakespeare trying to tell us?

Think of it as an opportunity to make your very own soup! Add some themes, stir in character analysis, sprinkle in some quotes and serve with historical context and authorial intent. Just like with a soup, there’s got be a good balance of all your ingredients; test out different structures during the year to find what works for you. (Just try not to overcook it, like I have done with this soup metaphor). If you need more help, How To Write a Standout Measure for Measure by William Shakespeare Essay is for you!

So, you see, there’s more to Shakespeare and ‘Measure for Measure’ than just fancy old language and iambic pentameter (What’s that? Well...). Keep on reading this blog post, where we’ll delve into themes, characters and symbols/motifs. In the meantime, let’s have a break. Grab a snack, a drink, and enjoy this tasty Shakespeare meme.

...Aaaaand we’re back!

Are you ready for part 2 of the Shakespeare train? Hop on board as we explore themes, characters and symbols/motifs. ‍ ‍

These are the major themes in ‘Measure for Measure’.

As you can see, the themes are interconnected. (Do you like the diagram? Made it myself :)) Why does this matter? Well, if you get an essay topic about Justice, for instance, you can also link it to Sexual and Gender Politics as well as Social Decay/Cohesion.

So, why is any one theme an important theme?

Which moments and characters are these themes related to?

Is there a link to historical context?

What are some key quotes?

What could be Shakespeare’s potential message? (Keep in mind that depending which pieces of evidence you look at, the Bard could be saying something different. In this piece, we’ll only discuss one or two authorial messages. The beauty of Shakespeare is that much is open to interpretation. You can interpret characters and ideas in so many different ways!)

Those are some great questions. Let’s explore some of the biggest themes...

Power and Authority

Power not only dictates the Viennese society, but we see it is a basis for moral corruption (I’m looking at you, Angelo!). The Duke is the leader of Vienna, ordained by God. He hands this power to his deputy Angelo, who misuses it in his request of Isabella. Now consider Isabella - she has power too, but a different kind… Also consider characters who have little to no power - Mistress Overdone, Pompey etc.

This theme could be linked to the Divine Right of Kings, the Great Chain of Being and Women.

• “O, it is excellent to have a giant’s strength, but it is tyrannous to use it like a giant” - Isabella when she pleads to Angelo to not kill her brother (Act 2, Scene 2, Line 130-132)
• “He who the sword of heaven will bear should be as holy as severe” - The Friar (Duke) to himself, not happy with Angelo’s dog move (Act 3, Scene 1, 538-539)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio (Act 2, Scene 1, Line 87-88)
• "Hence we shall see, if power change purpose, what our seemers be.” - The Duke lowkey suggesting that once Angelo gets power, he’ll change into something evil (Act 1, Scene 4, Line 57)
• “Some rise by sin, and some by virtue fall.” - Escalus is sneakily hating on Angelo. This quote shows that power and authority often involve corruption (Act 2, Scene 1, Line 41)

Perhaps Shakespeare is suggesting that power is a dangerous weapon and that in the wrong hands, it could be deadly.

Morality and Sin

This is an interesting theme. What defines sin? For instance, if Isabella sleeps with Angelo she’s sinning before God. But if she doesn’t, then she’s letting her brother die, which is not good either. Bit of a pickle that one. Some characters to consider include Isabella, Angelo, The Duke, Claudio, Lucio, the Provost…. jeez just about everyone! So many of the characters take part in questionable deeds. Was it immoral for the Duke to pretend to be a holy friar? Is Claudio’s sin of impregnating Juliet really punishable by death if both parties were willing, and no one else has been punished for the same “crime”? Are Pompey and Mistress Overdone being immoral in being in the prostitution business, if it’s the only way to survive?

Deep stuff man. This can be linked back to class divides, women and the contemporary playhouses/brothels.

• “What sin you do to save a brother’s life, nature dispenses with the deed so far that it becomes a virtue” - Claudio begs his sister to sleep with Angelo (immoral, especially since she’s poised to enter a nunnery), saying that it’s for a good cause, and will actually be a virtue/good deed (Act 3, Scene 1, Line 146-148)
• “Might there not be a charity in sin to save this brother’s life?” - Angelo asking Isabella to sleep with him and trying to paint the act as a charitable deed (Act 2, Scene 4, Line 65-66)
• “I am a kind of burr, I shall stick” - Lucio, who represents sin and immorality in Vienna (we’ll talk more about this later in symbols/motifs) (Act 4, Scene 3, Line 182)
• “To bring you thus together ‘tis no sin, sith that the justice of your title to him doth flourish the deceit.” - The Friar (Duke), encouraging Isabella and Mariana to do the dodgy bed-trick and trick Angelo (Act 4, Scene 1, Line 79-81)

Perhaps Shakespeare tries to tell us that there is a fine line between something moral and something sinful. Maybe he’s asking, “who are we to judge?”, since we all do questionable things sometimes. Everyone from the almighty Duke to a lowly prostitute has committed potentially immoral acts. Perhaps audiences are encouraged to be more understanding of others, and their reasons for these deeds.

Mmm, this theme ties in nicely with just about all of the others. How does one define justice? The play explores this idea; does justice mean punishment? Or mercy? How do we balance the two to deliver the right punishment/lack thereof? Characters that dispense justice include The Duke, Angelo (although they have differing ideas of justice) and Isabella. Since Vienna is a religious place, consider the divine justice system (ie. a perfect, flawless system meted out by God) and the earthly one (ie. the flawed, human justice system). Laws exist in an attempt to ensure justice. But does it always work? Consider also the Old and New Testament ways of thinking - the former strict and punitive, while the latter is more measured and merciful (see symbols/motifs below for more info).

This theme can be linked to the Divine Right of Kings, Great Chain of Being, Women, and Jacobean Audience.

• “Justice, justice, justice, justice!” - (Wait, are you sure this quote is about justice?) Isabella pleads for (you guessed it) justice to the Duke (no longer dressed as a friar), thinking Angelo has, in fact, killed her brother (Act 5, Scene 1, Line 26)
• “The very mercy of the law cried out… ‘An Angelo for Claudio, death for death!’ Haste still pays haste, and leisure answers leisure, like doth quit like, and measure still for measure” - The Duke, explaining that it’s only fair that Angelo die for “killing” Claudio. (Act 5, Scene 1, Line 437-441)
• “liberty plucks justice by the nose” - The Duke tells Friar Thomas that the laws have slipped over the years, and the citizens of Vienna are not being punished for immoral deeds (prostitution, sex before marriage etc)

Perhaps Shakespeare says that since we humans are inevitably flawed, that any justice system created by us will too be imperfect. Who are we to decide the fates of our fellow man? Furthermore, the Bard may be encouraging us to be kind when dispensing justice, leaning more to mercy than punishment.

Sexual and Gender Politics

Who run the world? Gir- no it’s a bunch of men. This theme contributes to why ‘Measure for Measure’ is a problem play. The exploration of the female characters in this play are very interesting, and kind of sad. Of 20 named characters, only 5 are women. Together, their lines make up only 18% of the play. Yikes! There is a lot to unpack here. Our female characters are Isabella, Mariana, Mistress Overdone, Juliet, Francisca (a nun who speaks twice) and Kate Keepdown (who we never meet). Their situations: a maiden poised to enter a nunnery, a prostitute, a pregnant girl about to lose her husband, a nun, and another prostitute. Quite gloomy, isn't it? Meanwhile, the men are leaders (The Duke, deputy Angelo, and ancient lord Escalus) and gentlemen (Lucio, Claudio, and Froth). Over the course of the play, our female characters are put into worse situations by men. Their experiences are dictated by men. Consider taking a “feminist perspective” and exploring ‘Measure for Measure’ from a female point of view.

This theme links to the Great Chain of Being, Women and Playhouses/Brothels.

• “see how he goes about to abuse me!” - These are the last words we hear from Mistress Overdone, as she calls out Lucio for betraying her even though she kept secrets for him. All this happens while she’s being carted off to prison in only Act 3! What do you think Shakespeare is saying to us? (Act 3, Scene 1, Line 481)
• “Then was your sin of heavier kind than his” - The Friar (Duke) says to Juliet that she sinned more than Claudio, even though their sin was “mutually committed”. Even though they were both consenting, the woman is blamed more. Consider what would become of Juliet if Claudio was executed. She’d probably end up like Mistress Overdone... (Act 2, Scene 3, Line 31)
• “Who will believe thee, Isabel?” - Angelo says this after Isabella threatens to reveal his disgusting request. Ouch. It really goes to show how untrustworthy women are deemed.  (Act 2, Scene 4, Line 163)
• “Why, you are nothing then: neither maid, widow, nor wife?” - The Duke says this to Mariana. Basically, he says a woman can only be those 3 things. Jeez. (Act 5, Scene 1, Line 196-197)
• “When maidens sue, men give like gods” - Lucio to Isabella, encouraging her to convince Angelo not to kill Claudio. So, perhaps women do have some power. But, it’s due to their sexuality; something evaluated by men. Peachy. (Act 2, Scene 1, Line 87-88)

Perhaps Shakespeare suggests that women are treated unfairly in society. Maybe he posits that women are afforded so few opportunities in a man’s world. The Bard potentially says that such sexual and gender politics do not create a cohesive and just society.

This theme, again, connects to many others. It can link to all groups of people (The wealthy, the poor, women, criminals etc). Most of the mercy is dispensed at the end of the play when the Duke does his grand reveal. Characters who choose to mete out mercy over punishment include The Duke and Isabella. Also consider Angelo, who instead of choosing to spare Claudio, decides to kill him to uphold a law that hasn’t seen anyone punished for the same deed. We might think this is harsh, but it a legal and lawful decision.

Connect this idea with historical context, specifically Jacobean audience and playhouses/brothels.

• “I find an apt remission in myself” - Apt remission = ready forgiveness. The Duke says this after pardoning Angelo (Act 5, Scene 1, Line 539)
• “pray thee take this mercy to provide for better times to come” - The Duke pardons murderer Barnadine, asking him to use it to do better. How lovely!  (Act 5, Scene 1, Line 525-526)
• “let us be keen (shrewd/sharp), and rather cut a little than fall and bruise to death” - Escalus says this to Angelo, who wants to enact all strict laws immediately. The ever-reliable Escalus advises Angelo to be lenient and merciful. (Act 2, Scene 1, Line 6-7)
• “Mercy is not itself that oft looks so, pardon is still the nurse of second woe” - Escalus says this, defending Angelo’s decision to punish Claudio. He suggests that sometimes being merciful can encourage further wrongdoing. (Act 2, Scene 1, Line 282-283”)
• “I show it (pity) most of all when I show justice” - Angelo says to Isabella that he is showing Claudio pity/mercy by punishing him. A firm believer in the law, Angelo thinks he’s doing the right thing and teaching Claudio a lesson by punishing him.  (Act 2, Scene 2, Line 123)

Perhaps Shakespeare encourages us to look at mercy and punishment from different perspectives. Angelo believes he is punishing Claudio for his own good, and cleaning up Vienna of lechery too. Maybe we ought to be merciful in our opinion of the deputy. Nonetheless, the Bard shows that in the case of young Claudio, mercy and forgiveness is the right path to choose. Finally, consider why Shakespeare may have portrayed a merciful leader to his Jacobean audience. Maybe if he were to portray a leader as fair and merciful, the Jacobean audience would trust that their new king (a man similar in character to the Duke) could be kind and merciful too. Earning the favour of the king and writing a killer play? He’s killed two birds with one stone.

Human Frailty & Fallibility

I’ve encountered many essay topics about how humans are flawed and imperfect. It’s a pretty big theme in many texts, not just in our friend William Shakespeare’s. Human fallibility is to blame for a lot of the going-ons in ‘Measure for Measure’. Angelo takes the law too seriously, he gets heart eyes for Isabella and kills Claudio even though he thinks he’s slept with Isabella. Why? He wants to save his own ass, fearing Claudio will seek vengeance. The Duke is flawed too. He’s a leader, but he just avoids his problems, leaving Angelo in charge to deal with them. Then he plans to swoop in and look like a hero. Kinda dodgy. Consider Claudio and Juliet too. They, like Angelo, succumbed to lust and slept together before they were officially married. (Sigh, humans just can’t get it right.) It’s also worth thinking about the “low-lives” and poorer characters. Are the poor frail in a different way? For example, Mistress Overdone keeps Lucio’s secrets for him. In that way she is virtuous. However, she sells her body to survive. Perhaps she is not prone to desire like Angelo, but serves another desire - a desire to survive?

In terms of historical context, consider the Divine Right of Kings, the Great Chain of Being and Playhouses/Brothels.

• “They say best men are moulded out of faults, and for the most become much more the better for being a little bad” - Mariana pleads to Isabella to support her in begging the Duke to pardon (her new husband) Angelo. She is optimistic for man, believing our bad deeds can lead to self-improvement. (Act 5, Scene 5, Line 473-475)
• “Why, all the souls that were were forfeit once” - Isabella pleads to Angelo to pardon Claudio. She states that all souls were flawed before Christ offered redemption. (Act 2, Scene 2, Line 93)
• “I speak not as desiring more, but rather wishing a more strict restraint” - Isabella is speaking to a nun as she is poised to enter the ranks of the nunnery. We usually think of a nun as living a very strict life, but Isabella wants it even stricter! Here we see her flaw is that her thinking is too singular and blinkered. (Act 1, Scene 5, Line 3-4)
• “Lord Angelo is precise, stands at guard with envy, scarce confesses that his blood flows, or that his appetite is more to bread than stone.” - The Duke talks about how unhuman Angelo is. The deputy follows rules very closely, almost to the point where he’s like a machine. His nature is too strict.  (Act 1, Scene 5, Line 53-56)
• “I love the people, but do not like to stage me to their eyes” - The Duke says this to Angelo and Escalus as he hands over power to his deputy. Even the Duke is not perfect, in that he does not like being before crowds of his people (Act 1, Scene 2, Line 72-73)

Perhaps Shakespeare suggests that no one is truly perfect, not even a leader supposedly ordained by God, a law-abiding deputy, or a maiden who is poised to enter a nunnery. Yet while Angelo is overcome by his lust and emotion, the Duke and Isabella attempt to better themselves by showing mercy and temperance. Maybe Shakespeare suggests trying to improve one’s flawed self is most important.

God, Religion and Spirituality

Phew, we’re at our last theme. So, society in Vienna is very much religious. Their beliefs dictate actions and laws within the city. Some very religious characters include Isabella and Angelo. However, our novice nun, who is obsessed with virtue and chastity, agrees to and takes part in the bed-trick, a deception that is not particularly Christian. Our lusty deputy also succumbs, hellishly propositioning a maiden to sleep with him in exchange for her brother’s life. Even The Duke, supposedly semi-divine, makes some dubious choices. He spends most of the play posed as a holy man, even though he is not. He plans the bed-trick to deceive Angelo and lets poor Isabella think her poor brother is dead, instead of saving her so much pain. Furthermore, the title of the tale, ‘Measure for Measure’, comes from the Gospel of Matthew. (See symbols/motifs for more deets). The question of how much we should let religion dictate us is another reason this piece is a problem play.

The theme of God and Religion can link to historical context such as the Divine Right of Kings.

• “more than our brother is our chastity” - (Act 3, Scene 1, Line 194) and “Better it were a brother died at once, than that a sister by redeeming him should die forever” - (Act 2, Scene 4, Line 111-113) show that Isabella values her chastity and virtue over her brother!! Damn girl!
• “Ay, but to die, and go we know not where, to lie in cold obstruction and to rot” - Claudio tells Isabella that he fears the uncertainty of death. Perhaps his belief in a heaven has left him in the wake of his impending death? (Act 3, Scene 1, Line 129-130)
• “Let’s write good angel on the devil’s horns - ‘tis not the devil's crest” - Angelo is talking to himself about his lust for Isabella. It’s an appearance vs reality (ooh another theme!) kind of idea, where you can try to pretend something is something else (ie. Angelo doesn't lust after Isabella), but it doesn't change the thing (ie. he’s still keen). The deputy is comparing his emotions to these religious extremes. (Act 2, Scene 4, Line 16-17)

Perhaps Shakespeare criticises religious extremism in his portrayal of characters like Isabella and Angelo. Or maybe he just wants us to remain open-minded about ideas and our spirituality.

Yikes, there are so many themes in this play! Let’s move it along, and talk a little bit about characters.

Each character can be viewed in different lights, even more so than themes can be. We’re going to discuss characters very briefly because it’s up to you how you want to read them.

Here are the characters, in order of how much they speak in the play. To keep things short, let’s pretend these are all tinder bios. Who would you swipe right on? (Hint: not Lucio)

• super chill (the benevolent ruler of Vienna who’s let the laws slip a little)
• loves dressing up (actually spends most of the play disguised as a friar)
• clever/cunning (secretly counteracts the injustices decreed by Angelo)
• strong morals (would rather her brother die than she lives in shame)
• can get wild (conspires with the Duke to complete the bed-trick)
• holy gal (poised to enter a nunnery)
• a gentleman (well, his title is. He’s rude about the Duke and abandoned a prostitute that he got pregnant, so maybe he’s not that kind of gentleman)
• loves attention (legit! He’s a minor character but he has the third most lines of them all! Lucio loves to stir the pot!)
• loves some symbolism (Lucio represents all the bad stuff in Vienna…..see symbols/motifs)
• plays by the rules (a little too much)
• hypocrite (Sentences Claudio to death for sex before marriage, while asking the same thing of Isabella…. wow we’ve found our antagonist)
• Deep (Angelo is a bit of a complex character. He seems aware of his misdeeds and struggles to deal with these desires. It’s hard not to pity him at times)
• reliable (consistently counsels Angelo against acting too harshly)
• virtuous (he’s merciful, lets Pompey go with a warning in Act 2 Scene 1)
• loyal (trusts in the Duke)
• hard worker (he’s a prison ward)
• virtuous (does what’s right by him, disobeying Angelo’s orders to behead Claudio)
• magician (not really, but he makes Angelo believe that pirate Ragozine’s head is Claudio’s)
• clever (philosophically debates whether prostitution is worse than murder)
• funny (his character is the clown, and he’s got some sassy comebacks)
• poor (Pompey is a bawd employed by Mistress Overdone. Not the best dating bio)
• down for a good time ;) (impregnates Juliet before they are officially married)
• cool family (he’s Isabella’s brother)
• good hearted (initially is horrified at Angelo’s request of Isabella, saying she shouldn’t do it. Unfortunately, his fear of death get’s to him. After he’s calmed down, he’s accepting of death)
• a man in uniform (a policeman)
• a little dumb (he speaks a lot of malapropisms - hilariously using similar but incorrect words)
• not like Pompey (Pompey is a clever poor man, while Elbow is a policeman who’s a little bit all over the place)
• dedicated (still in love with Angelo even though he called off their engagement because her dowry was lost)
• a willing accomplice (participates in the bed-trick)

Mistress Overdone

• poor (she’s a prostitute, who fears for her livelihood when Angelo announces he’s destroying all the brothels)
• good hearted (kept Lucio’s secret. What secret? Read on…)
• works for the Duke (as an executioner…. there’s no way to make that sound nice)
• doesn't have a great name (c’mon it’s true)
• also likes to have a good time ;) (pregnant before official marriage)
• dependent (if Claudio dies she will probably end up as a prostitute to survive)
• can sing (Mariana asks him to sing a sad song about how she lost her beloved Angelo)
• holy gal (she is a nun)

Kate Keepdown (we never actually meet this character)

• a colleague of Mistress Overdone (a prostitute)
• single mum (Lucio got her pregnant and then ran away. He thinks marrying a prostitute is akin to whipping and hanging)

Ragozine (we never actually meet this character)

• dies (legit that’s all he does)

SYMBOLS & MOTIFS

These are people, objects, words etc that represent a theme or idea. For instance, the fact that I’ve used a bad soup metaphor AND a tinder reference means I need to go outside more. But let’s move on…

The title, “Measure for Measure” draws from the gospel of Matthew. The idea of heavenly justice vs earthly justice is prominent throughout the text. Moreover, it’s worth exploring the Old Testament ways of “an eye for an eye” and “measure for measure” in comparison to the New Testament teachings which lean towards forgiveness and mercy. Now, where do the Duke’s actions fit in? Is he harsh and equalising? Is he just and sympathetic?  

New Testament vs. Old Testament

When the Duke sentences Angelo to death, he makes a fancy speech which includes the play’s title.

“‘An Angelo for Claudio, death for death!

Haste still pays haste, and leisure answers leisure.

Like doth quit like, and measure still for measure.”

Act 5, Scene 1, Line 439-441

This mimics the Old Testament views, which famously states “eye for eye, tooth for tooth” (Exodus 21:24). These ideals teach that the person who committed a misdeed shall have the same misdeed done unto them. (For example, if you don’t like my new Facebook profile picture, I’m not liking yours…..but way more severe.)

In comparison, the New Testament states that we “Be merciful, just as your Father is merciful. Do not judge, and you will not be judged. Do not condemn, and you will not be condemned. Forgive, and you will be forgiven.” (Luke 6:36-37)

So, when sentencing Angelo the Duke employs the words of the Old Testament. However, he doesn’t go through with Angelo’s execution, instead showing the mercy encouraged by the New Testament. He’s not really following either way. Perhaps he’s instead choosing a middle road; one of temperance and justice.

Wait, who? We haven’t mentioned the “gentleman” Lucio much in the plot and in this blog post. That’s because he doesn’t really do that much other than buzz around and annoy everyone. Maybe that’s why his name rhymes with mosquito….

Regardless, we do see enough of Lucio’s character to learn that he’s not a very nice person. He treats Mistress Overdone and Pompey poorly, makes visits to the brothel, doesn’t take responsibility for his actions (getting Kate Keepdown pregnant) and bad-mouths the Duke. So yeah, we don’t like Lucio, what’s the big deal? Well, in Act 4, Scene 4 Line 182, Lucio says something very intriguing.

“I am a kind of burr, I shall stick.”

Burr - those little brown prickly things that get stuck to you.

We can think of Lucio as representing all the sins and misdeeds in Vienna - lechery, immorality, lack of justice, selfishness etc. Hence, Lucio is saying that these shortcomings and flaws will always be present to people and in Vienna, sticking to the city like a nasty burr. Damn, that’s deep.

Prose/Verse

The metre of the verse (ie. the classic Shakespeare writing) in ‘‘Measure for Measure”  is iambic pentameter. This means that each line is divided into 5 feet. Within each foot, there is one unstressed syllable followed by a stressed one.

I’ll TELL him YET of ANgelO’S reQUEST, And FIT his MIND to DEATH, for HIS soul’s REST. (Act 2, Scene 4, Line 195-196)

Verse does not have to rhyme, as the above lines do. Shakespeare often employs a rhyming couplet to close a scene and add some drama.

Verse is usually reserved for the higher class citizens, with those who are less fortunate speaking in prose.

Prose is language in its ordinary form, with no metre.

Certain characters, such as Lucio, switch between verse and prose depending on who they are speaking to. This could allude to Lucio’s duplicity, or perhaps a deep understanding of class divides in Vienna.

Names: Escalus and Angelo

Escalus is the ever reasonable and loyal lord and close confidant of the Duke. His name gives connotations of scales and balance - characteristic of the rational man.

Angelo’s name has connotations of “angel”. If we judge him only by his name, he should be a pure and heavenly being. Bah! That’s so fake! We can see that appearance is very different from reality. Isabella notices this too, stating that “this outward-sainted deputy...is yet a devil” (Act 3, Scene 1, Line 95-98).

Angelo’s Words/Actions

There is so much to unpack about this douchebag. Let us briefly consider 2 ideas. When he propositions Isabella to sleep with him, he requests that she “lay down the treasures of (her) body” (Act 2, Scene 4, Line 100).

Firstly, that’s weird. Perhaps Angelo can be seen as someone who is obsessed with the physical - Isabella’s body and treasure. Maybe this obsession leads to his immorality and poor leadership.

Secondly, Angelo struggles to directly say, “hey, let’s sleep together”. He weaves his way around the request, propositioning Isabella so indirectly that at first, she does not even seem to understand his request! However, once she threatens to tell everyone about his vile demand, he speaks bluntly; “Who will believe thee, Isabel?” (Act 2, Scene 4, Line 163). Perhaps this shows Angelo is self-aware that he’s being an ass. Or maybe this scene is yet more evidence of a patriarchal society, with the men knowing very well the power they hold.

We never actually meet this fellow. Ragozine is a pirate who dies in jail while “Measure for Measure” unfolds. His head is used in place of Claudio’s to convince Angelo of the former’s execution. Fascinatingly, Ragozine is the only person who dies in the entire play. ALSO, he dies of natural causes. Interesting. It feels like the play is full of death, grief and many heads on the chopping block. But curiously, there is only one death, of a minor character, of natural causes. Perhaps this says something about fate and justice or offers some commentary on life and hope.

Elbow vs. Pompey

Elbow is a silly policeman who speaks in malapropisms (using a similar but incorrect word for humorous effect). Pompey is a clever pimp who seems to have a deep understanding of justice and the Viennese people. The comparison of these characters, fortunate and dumb to unfortunate and clever, perhaps serves to show that the law is not always apt and that sometimes those who break the law are more clever than it.

Mistress Overdone (or lack thereof)

Mistress Overdone is a pitiable prostitute. She worries for her survival when Angelo begins pulling down the brothels, and she keeps Lucio’s bastard child a secret, only for him to throw her under the bus to save his own skin. The last we see of Mistress Overdone is her getting carted off to prison, crying “See how he goes about to abuse me!” (Act 3, Scene 1, Line 481) Yes, the last we witness of one of five speaking female characters is of her imminent incarceration. Furthermore, this happens in Act 3 of 5, around halfway through the play! The audience never hears from Mistress Overdone again, and her future is left uncertain. Even Barnadine, a convicted murderer, is given freedom and a happy ending.

Consider writing a few sentences of your essay from a feminist’s perspective. Think about the events of the play from the female characters’ points of view. What is Shakespeare saying by portraying Mistress Overdone (and other women) in such a way? Perhaps he is pointing out the injustices of the patriarchal system, or how uncertain a woman’s life was in his contemporary time.

“Measure for Measure” truly is an incredible text. This blog post is by no means an exhaustive list of all its quirks and complexities. This play’s relevance has survived centuries, and I believe it will continue to be pertinent to audiences well into the future. You are very lucky to be studying a text with such universal themes and ideas that you can carry with you even after high school.

• Plot Summaries
• Textual Features Analysis
• Themes (Convergent and Divergent Strategy)
• LSG’s Bubble Tea (BBT) Strategy for Unique Strategies
• Sample Essay Questions

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

1. Plot Summaries

In Stasiland , Anna Funder, the author and first-person narrator , meets and listens to the ordinary people of East Germany : those who resisted the GDR dictatorship, those who were crushed by it, and those who diligently and remorselessly worked for it as Stasi informants or officers. As Anna speaks with those whose lives have been traumatised by the Stasi, she reflects on how the reunified Germany has dealt with (or ignored) its citizens' trauma and whether memory can be reconciled . Anna is an Australian working for a television station in Berlin in 1996. As an outsider Anna is uniquely positioned to ask East Germans about their experiences , as they do not have to battle with prior knowledge and experience to share their stories. She is interested in the former German Democratic Republic and what has happened to the East German people since the country reunified with West Germany. She became curious after learning that there are people putting together documents that were shredded by the Stasi.

Anna travels to Leipzig and visits the former headquarters of East Germany’s secret police, the Stasi, which is now a museum. The Stasi were the East German secret police and internal surveillance and defense force . Headed by Erich Mielke, they conducted surveillance on the East German population, aided by a vast number of civilian informants. While in Leipzig, Anna meets with a woman called Miriam Weber, who attempted to sneak out of East Germany when she was just a teenager. Miriam, sleep deprived and tortured, lied about receiving help from an organisation to cross the Wall and was sentenced to jail time. Her husband Charlie was also imprisoned by the Stasi and died while in custody. Miriam was told he committed suicide by hanging, but she suspects he was killed after the Stasi refused to show her his body and went to great lengths to hide Charlie during the funeral.

Returning to the apartment she rents in Berlin, Anna puts an advertisement in the paper calling for former Stasi agents and informers to share their stories with her. She meets with several ex-Stasi men, including Herr Winz, Herr Christian, Herr Bohnsack and Hagen Koch. She also visits and speaks to Karl-Eduard von Schitzler, a hateful man who hosted a propaganda-filled television program that criticised West Germany and gave false information about Communist success. In their discussions the former Stasi agents are concerned with justifying their involvement with the Stasi, although many also remain committed to communist ideals and await with anticipation the next revolution and restoration of the communist government.

Anna rents her apartment from an unpredictable and evasive young woman called Julia. Over time, Julia comes to trust Anna and shares her story of the Stasi cruelly interfering with her life. Anna also speaks with her rock musician friend Klaus Renft – East Germany’s Mick Jagger, and a woman named Frau Paul who was separated overnight from her sick infant son when the Berlin Wall went up and was later imprisoned for inflated charges of assisting people to escape East Germany.

After Anna’s mother is diagnosed with cancer, she goes home to Australia for 3 years, returning to Berlin to meet with some of the people she spoke with during her earlier stay, including Hagen Koch and Miriam. She also finally visits the ‘puzzlers’ in Nuremberg, whose story first sparked her interest in investigating the lives of East Germans affected by the Stasi. Anna is disappointed in the puzzlers, realising that their work is futile and there is no real effort put towards uncovering the lost information.

Almost all East Germans were left reeling at the sudden collapse of their government. For many, the collapse of the GDR took with it ideological security and made them nostalgic for the past. For others, being confronted with the level of the Stasi’s intrusion into their lives was deeply traumatic, as people realised they had been grievously betrayed by their fellow citizens, neighbours and even family members. The nostalgia for the regime that Funder witnesses shows how people cling to certainty and position and sometimes struggle with new freedoms. However, having spoken with so many individuals whose lives were ruined by the Stasi, Anna feels that the old regime was oppressive and authoritarian, and that the East Germans are better off with the challenges of their freedom, rather than stuck with the certainties of their oppression.

Never Let Me Go

Never Let Me Go is set in a dystopian alternative reality in England in the 1990s. The narrator, Kathy H, is a thirty-one-year-old 'carer' – a clone who looks after other clones who are donating their organs. Kathy is about to retire after a long career as a carer to become a donor herself, meaning she will soon 'complete' ( a euphemism for dying ). However, this premise is not immediately apparent to the reader . At the start of the novel, Kathy informs us she will be leaving her role as carer in a few months and has started to write down memories of her life, sorting through her time as a 'student' at Hailsham. However, at the start of the novel the reader is not aware that Kathy is a clone, although she appears to be addressing an insider from her world.

In the first third of the novel Kathy reflects on her childhood and teenage years at Hailsham . Hailsham is an institution where clones are looked after by 'guardians' and referred to as 'students', and which at first appears to be a private boarding school with a heavy focus on the arts and creativity. Their best works of painting, pottery, drawing or poetry were selected and taken away by a woman known as 'Madame', for what the students presume, and what is later confirmed to be, a gallery. The students know they are different from their guardians and the people who live outside Hailsham, referred to as 'normals', but the truth of what the clones are and their certain fate is not fully articulated until the characters are adults.

Kathy is close friends with a confident and controlling girl called Ruth and a boy named Tommy, whose work is never selected for the Gallery – an acknowledgement that defines status at the school. Tommy, teased and excluded, struggles to control his temper and often explodes into furies of rage. The students collect items and other students’ artwork for their own memory boxes , bought or traded at the school’s Exchanges and Sales. Kathy buys a cassette tape by a woman named Judy Bridgewater that contains a song called ‘Never Let Me Go’. This song makes Kathy emotional, and one day she is caught dancing to it by Madame, who Kathy is surprised to see is in tears watching her. Kathy presumes Madame is upset because she knows Kathy can never have children.

Ruth and Tommy start dating and Part Two sees the three friends reach early adulthood and move to a place known as the Cottages, to live with other clones from around the country and experience some freedom before beginning their donations or training to become a carer. When Rodney, another Cottage resident, believes he saw Ruth’s 'possible' – an original that one of the clones was modelled off – the three friends along with Rodney and his girlfriend Chrissie, take a trip to Norfolk to find her. Norfolk exists in the imagination of the Hailsham students as a 'lost corner', where things they have lost will be found. While the 'possible' is not Ruth’s original, Kathy and Tommy find a copy of the Judy Bridgewater tape that Kathy had lost. Ruth was secretly desperate to find her possible and hoped to find her working in an office. Ruth dreams of working in an office and her wish that her possible will be an office worker is one of the only suggestions we have that the clones secretly long for more from their lives and view their possibles as versions of them and what they are capable of. Back at the Cottages, Ruth continues to be manipulative and self-promoting, leading to a falling out with Kathy where she decides to leave early to begin training as a carer and falls out of contact with Ruth and Tommy.

Part Three encompasses Kathy’s time as a carer. Years after the time at the Cottages, Kathy organises to be Ruth’s carer and Ruth reconnects Kathy and Tommy, admitting she knew they loved each other and deliberately kept them apart. She hopes they will attempt to get a deferral from Madame. After Ruth 'completes', Kathy and Tommy finally become a couple. They visit Madame to ask for a deferral, who informs them there is no such thing. They learn from Madame that Hailsham was an attempt to reform the treatment of clones in their youth by proving they had souls . In most centers, clones are reared in deplorable, abusive conditions. They also learn that Hailsham had to be shut down. The normals became too uncomfortable with the reality of the clones’ souls but were not prepared to lose their organ supply. Never Let Me Go is a story about injustice and social stratification, where one group is made to suffer for the benefit of another. The 'normals' can deny their mortality while forcing the clones to confront their death sooner than their natural life span , and by shutting down schools like Hailsham, they do not need to think about the ethics of their choices.

Tommy dies and Kathy resigns herself to her fate as a donor. At the end of the novel, Kathy misses Tommy and Ruth, but consoles herself that she will always have her memories with her . Ishiguro explores the extent to which people accept their predetermined fate and how they can find meaning and love within those often-cruel limitations. 

2. Textual Features Analysis

A textual feature is a component of the text used by authors to give meaning to their work. It is necessary to engage with the actual construction of the texts and to discuss textual features using metalanguage (terms that describe and analyse language). To write a thorough and thoughtful essay, you need to understand the textual features and how they are connected to overall thematic ideas. Structural features and metalanguage can be used as evidence of authorial intent and deepen our understanding of how writers use literary techniques to develop ideas and create meaning. Let’s take a look at Genre . 

Stasiland is an example of creative nonfiction, meaning it tells a story of factual events and real people using literary and poetic techniques. The word ‘creative’ doesn’t give authors permission to exaggerate or dramatise the truth, instead this genre is one of factually accurate prose about real people and events that is told in a vivid and compelling way.

The reason Stasiland is classified as creative nonfiction and not under the genre of memoir is because although the events follow Anna Funder’s experiences in Berlin, they are not predominantly about her. A memoir is the writer’s own personal journey and life, whereas creative nonfiction generally has more public relevance and commentary. In Stasiland , Funder’s experiences in Berlin structure the chronology of the narrative but take a thematic backseat to the stories of the East Germans she meets and the historical events she relays . 

Never Let Me Go has elements of multiple genres: dystopian fiction, speculative historical fiction, science fiction and bildungsroman.

‘Dystopia’ means the opposite of ‘utopia’, but you’ll notice that most dystopian novels are set in societies where the ruling classes believe they are in a utopia. This is true of Never Let Me Go , as the clones pay with their lives and freedom for the utopian elimination of disease and extended life spans of the 'normals '. However, while clearly set in a horrific dystopian world, Never Let Me Go notably differs from other novels in the dystopian genre, as the oppressed clones never once consider rebelling against the status quo – the most Kathy and Tommy hope for is an extension before beginning their donations and 'completing'. Ishiguro has stated in multiple interviews that he was most interested in exploring why oppressed persons never consider rebelling against their fate – what leads them to passive acceptance of their position in society?  

In his exploration of this question, Ishiguro explores the development and growing up of Kathy, Ruth, and Tommy, trying to understand why they all submit without protest to their fate . In this sense the novel is a bildungsroman. Bildungsroman is a genre concerned with the psychological and moral development of a protagonist from childhood to adulthood, focusing on a person’s formation or coming of age. Never Let Me Go follows Kathy, Ruth and Tommy throughout their childhood and adolescence at Hailsham, their experience of limited freedom at the Cottages as young adults, and finally the reality of their short adult life as organ donors.

Of course, Never Let Me Go also fits into the category of speculative historical fiction and science fiction. The novel is set in an alternate historical reality where genetic science rapidly advanced after World War Two (significantly outstripping the real-world) and clones have been used to extend life in the UK for decades. However, Ishiguro does not give much narrative weight to describing the political reality of his fictional world , and neither does he offer much scientific explanation for the existence of clones. As we’ve already discussed, Ishiguro was vastly more interested in using these scientific and political circumstances to create conditions within which to explore characters and, by extension, human nature, so Never Let Me Go fits uneasily in these genres. 

3. Themes (Convergent and Divergent Strategy)

Now that we’ve looked closely at both Stasiland and Never Let Me Go , it’s time to discuss in depth the key themes and ideas. Themes are the big ideas about human experience that a text explores, and form part of the message the author is hoping to communicate. A sound knowledge of key themes is essential for developing a thoughtful essay. All essay topics will ask you to explore thematic ideas in one way or another. If you have a strong understanding of both texts’ themes and how they are communicated, you will be able to generate arguments for any essay topic with confidence.

I’ll be adhering to the CONVERGENT and DIVERGENT strategy. This guide doesn’t go into too much detail about using LSG’s CONVERGENT and DIVERGENT strategy, so perhaps familiarise yourself with it by reading How to Write a Killer Comparative . 

Convergent Idea: The Importance of the Act of Remembering

Both Stasiland and Never Let Me Go illustrate the importance of remembering through the very construction of the text: in the narrative voice and narrative structure. Both narrators are looking into the past to try to make sense of history. For Kathy, this is a personal history whereas for Funder it is an act of witnessing a nation’s past and elevating the voices of the victims.

Stasiland is a compilation of the stories of all kinds of people involved and impacted by the GDR , including those who rebelled against the system, those who supported it and those crushed by it. Thus, ‘both sides’ of history are represented. Funder said in an interview with the Sydney Morning Herald after the publication of Stasiland that, 'When [Germans] read my book, people in the East are not proud of themselves. They'd rather not be reminded that other people were braver than they were. So there is a huge force to pretend that the Stasi regime was not as bad as it was.' This desire to forget the past so as to ignore confronting the terrible and terrifying truths contained within it is what Funder is working against by writing Stasiland . At one point in the text, she explicitly states what she’s doing: 

'I’m making portraits of people, East Germans, of whom there will be none left in a generation. And I’m painting a picture of a city on the old fault-line of east and west. This is working against forgetting, and against time' ( Stasiland , 147).

Julia explains the importance of these portraits, telling Anna 'For anyone to understand a regime like the GDR, the stories of ordinary people must be told. …You have to look at how normal people manage with such things in their pasts' (144). These 'things in their pasts' are not just trauma and hardship, but the knowledge that people just like them – their spouses, children, friends and neighbours – were capable of such cowardice, betrayal, self-interest and cruelty. It is this knowledge that Funder wants to preserve – that ordinary people are capable of both extraordinary courage and extraordinary cowardice .

Anna comes across a sobbing man 'I don’t want to be German anymore!...We are terrible…They are terrible. The Germans are terrible' ( Stasiland , 253-4). Anna reflects that East Germans were 'long used to thinking the bad Germans were on the other side of the Wall' and now he is forced to ask 'were his people, now broke or drunk, shamed or fled or imprisoned or dead, any good at all?' ( Stasiland , 254).

Although Kathy’s narration is entirely from her perspective , her act of remembering is also in many ways a political statement that forces us to consider the inhumanity people are capable of .

Kathy recollects and structures her memories of her childhood and relationships to understand them as a unified whole, essentially establishing her identity . More importantly, it is evident in phrases such as 'I don’t know how it was where you were, but at Hailsham…' ( NLMG , 13) and 'I’m sure you’ve heard it said plenty more' ( NLMG , 4) that Kathy is positing a reader for her writing. Assuming a reader places her autobiography in a social framework with the purpose of communicating her life , which turns it into a historical account that exists beyond the limit of her death. Kathy’s attempt to leave a legacy by writing down her experiences and structuring her identity is an act of protest against a society that believes she is sub-human , without feelings or motivations, and that her life meant nothing.

Divergent Idea: The Role and Value of Nostalgia

The way memory can be distorted is particularly clear in relation to the idea of nostalgia for a brutal past. This idea is explored differently in Stasiland and Never Let Me Go , with Funder condemning nostalgia as blinding people to the horrors of the past, and Ishiguro illustrating how drawing comfort from the past can help people through difficult times .

In Stasiland , many disaffected former East Germans tell Anna that things were 'so much better before' ( Stasiland , 251) the country’s reunification. Anna reflects: 

'I don’t doubt this genuine nostalgia, but I think it has coloured a cheap and nasty world golden; a world where they was nothing to buy, nowhere to go and anyone who wanted to do anything with their lives other than serve the Party risked persecution, or worse' ( Stasiland , 251-2).

Similarly, while working at the radio station on Ostalgie parties ( Ostalgie is nostalgia for life in Communist East Germany), Miriam observes 'a crazy nostalgia for the GDR – as if it had been a harmless welfare state that looked after people’s needs. Most of the people at these parties are too young to remember the GDR anyway. They are just looking for something to yearn for' ( Stasiland , 275). Funder is critical of nostalgia because it minimises past injustice .

Conversely, in Never Let Me Go , nostalgia and false memories are shown to be consolatory and even useful. Before Kathy begins to recount her childhood, she mentions a donor who was once under her care who 'knew he was close to completing' ( NLMG , 5). He asks Kathy to share memories of her childhood and 'What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. …so the line would blur between what were my memories and his' ( NLMG , 5). Although this man is falsifying his memories, he is not editing and revising history like some people in east Berlin , he is replacing them entirely to suppress the trauma of his own past. He is not yearning for a return to an idealised past the way some people in Stasiland do. For Kathy, nostalgia for her childhood helps her reconnect with her friends, creating a sense of belonging and identity. Her attachment to Hailsham strengthens her worldview, her relational bonds and gives meaning to her life. Nostalgic memory in Never Let Me Go brings comfort, although you could argue that it also fosters passivity and acceptance in the face of oppression .

4. LSG’s Bubble Tea (BBT) Strategy for Unique Strategies

Why is an interpretation important.

Your interpretation is what English is all about; it’s about getting you to think critically about the essay topic at hand, to formulate a contention (agree, disagree, or sit on the fence) and argue each of your points with the best pieces of evidence you can find - and it’s something you might already be starting to do naturally.

In this section, we aim to help you develop your own interpretation of the text, rather than relying on your teacher, tutor or even a study guide (including this one) author’s interpretation. By developing your own interpretation, you become a better English student by:

• Writing with meaning. For a text to be interpreted, you need a text and an interpreter (i.e. you!). Whenever we read a new text, our interpretation of a text is shaped by our pre-existing beliefs, knowledge and expectations. This should be reassuring because it means that you can leverage your own life experiences in developing a unique interpretation of the text! We’ll show you how this works in the next point.
• Remembering evidence (quotes or literary devices) more easily. If you know you admire a character for example (which is in itself an interpretation 😉), you can probably remember why you admire them. Perhaps the character’s selflessness reminds you of your Dad (see how you’re using real life experiences mentioned in Point 1 to develop an interpretation of the text?). You will then more easily recall something the character said or did in the text (i.e. evidence) that made you admire them.
• Having an analysis ready to use alongside the evidence. As a result of Point 2 , you’ll be able to write a few sentences based on your own interpretation. Rather than memorising entire essays ( we’ve talked about this before ) and regurgitating information from teachers, tutors, study guides and other resources - which can be labour intensive and actually detract from the originality of your essay - you’re approaching the essay with your own thoughts and opinions (which you can reuse over and over again across different essay topics).

Let’s look on the flip side. What happens when you don’t have your own interpretation?

When you don’t take the time to actively think for yourself - i.e. to think through your own interpretations (we’ve talked about the importance of THINK in the THINK and EXECUTE strategy here ) - when it finally comes to writing an essay, you may find it difficult:

a) to get started - formulating a contention in response to the essay topic is challenging because you have no strong opinion about the text ,

b) complete the essay - writing up arguments and using evidence in paragraphs becomes challenging because you have no strong opinion about the text ,

c) to score higher marks - ultimately, you end up regurgitating other people’s ideas (your teacher’s, tutor’s or from study guides) because you have (you guessed it) no strong opinion on the text .

Having your own interpretation means that you’ll eliminate issues a, b and c from above. Overall, you’ll have opinions (and therefore contentions) ready for any prompt when you go into your SACs or exams, which means it’ll be easier not only to write a full essay, but an original and insightful one as well.

To overcome the issues above, you need to be confident with your own interpretation of the text. This doesn’t come naturally to a lot of students, and it makes sense why. After all, so many subjects reward specific answers (2 + 2 = 4), whereas English is tricky because there’s so much more flexibility in what constitutes a ‘correct answer’. It’s scary treading the sea of different possible interpretations because you’ll ask yourself questions like:

• How do I know if my interpretation is correct?
• How do I know if my evidence actually backs up what I’m arguing?
• What if I disagree with my teacher, and they mark me down for a differing opinion?
• Or worse - I’m not smart enough to come up with my own interpretation!

Let me say that you are absolutely smart enough to develop your own interpretation, and I’ll show you how to do so in A Killer Comparative Guide: Stasiland & Never Let Me Go with LSG’s unique strategy - the BUBBLE TEA (BBT) strategy . By following our step-by-step framework, you can be confident that your interpretation is valid, that it backs up your argument, and that most importantly, you won’t lose marks for it!

 5. Sample Essay Questions

1. ‘To conform is to be safe and to survive.’ Compare how this idea is examined in both texts.

2. 'The earlier years…blur into each other as a kind of golden time' ( Never Let Me Go ) 'I don’t doubt this genuine nostalgia, but I think it has coloured a cheap and nasty world golden.' ( Stasiland ) Compare what the two texts say about the dangers of willful ignorance.

3. 'For Miriam, the past stopped when Charlie died.' ( Stasiland ) '…I’d see it was Tommy, and he’d wave, maybe even call…and though the tears rolled down my face, I wasn’t sobbing…I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.' ( Never Let Me Go ) What role do love and relationships play in helping people withstand persecution?

4. ‘It is impossible to be free when you are unaware of your confines.’ Compare how the two texts explore freedom and confinement.

4. ‘The past is always harder to access than we think’. Compare the ways in which Stasiland and Never Let Me Go depict the difficulties in uncovering the past.

As with all our essay topic breakdowns, we'll follow LSG's THINK and EXECUTE strategy , as taught in our How To Write A Killer Text Response study guide. The LSG's THINK and EXECUTE strategy follows three steps in the THINK phase - A nalyse, B rainstorm, and C reate a Plan. Learn more about this technique in this video:

'To remember or forget? Which is healthier? To demolish it or fence it off? To dig it up, or leave it to lie in the ground?' ( Stasiland ). 'What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood' ( Never Let Me Go ). How does memory inform identity in Stasiland and Never Let Me Go ?

This quote-based prompt is constructed a bit like a theme-based prompt as it directs us to talk about memory’s role in forming identity. However, the quotes act as an additional hint in terms of what else we’re supposed to discuss. We need to identify where these quotes come from in the texts and why they might be significant. The Stasiland quote (from p. 52) comes from the question of what the nation should do with Hitler’s bunker. In the end the only decision was indecision, the mayor buried the bunker and hoped that people in 50 years might know what to do with it. Thus, this quote points to the difficulty countries have in creating a national identity when there is horror and trauma in their history. The Never Let Me Go quote (from p. 5) points towards an ill donor’s recreation of his identity using someone else’s memories. Therefore, this quote points to how memories, even false ones, can reconstruct individual identity.

Because of the direction of the two quotes, I am going to explore memory’s role in forming individual and group identity.

Individual identity:

• Kathy and Julia develop greater self-insight through sharing their memories in a structured, logical narrative.
• Kathy and Herr Koch fear that the loss of the physical presence of Hailsham and the Berlin Wall will undermine the significance of their memories of these places, which form a substantial part of their pasts and identities. They therefore pay much more attention to preserving their memories of these places to affirm their identity.

Group identity:

• East Germany’s rewriting and erasure of history meant that they no longer identified as the same Germans responsible for Hitler’s regime.
• The episode in which a distressed man sobs 'I don’t want to be German anymore!' reveals how difficult memories can generate confusion and internal conflict over an individual’s perception of their national identity.
• In NLMG , the country’s determined forgetting of the circumstances of the clones allows them to preserve their own interests and maintain an uncomplicated, guilt-free, but false, innocent national identity.

P1: Both texts show that the degree to which one’s memories have been investigated and illuminated impacts how well they understand their identity.

• Compare Kathy and Julia and the way they reconstruct their understanding of their identity by reflecting on their memories with the new information offered by hindsight.
• Conversely, the ill donor that Kathy cares for at the beginning of the novel sought to purposefully suppress his own identity by replacing his memories. This speaks to the same idea that memories can evolve and shape identity but shows how that can be misaligned with reality and truth (note: this discussion of the donor is your opportunity to use the quote from the prompt, which is a requirement of a quote-based topic).

P2: Sometimes people hold on tightly to particular memories as a way to affirm their identity as losing those memories is akin to erasing or denying the legitimacy of their experiences.

• Compare Hagen Koch’s obsession with the Berlin Wall and Kathy’s preoccupation with Hailsham.

P3: Choosing what gets remembered or forgotten in a nation’s ‘official history’ drastically impacts how their national identity is perceived and how well that identity aligns with reality.

• 'History was so quickly remade, and so successfully, that it can truly be said that the easterners did not feel then, and do not feel now, that they were the same Germans as those responsible for Hitler’s regime'
• 'I don’t want to be German anymore!'
• 'To remember or forget? Which is healthier?'
• 'The world didn’t want to be reminded how the donation program really worked.'
• 'They preferred to believe these organs appeared from nowhere.'

If you'd like to see the sample A+ essay we wrote up for this essay topic, then you might want to check out our A Killer Comparative Guide: Stasiland & Never Let Me Go study guide !

The new VCE English syllabus has kicked off its first year in 2016. Now, I know a lot of us are still grappling to understand the changes, and who knows? You might look like this:

...an array of bewilderedness, surprise, and perhaps even...excitement? Don't worry, we're all in the same boat. The new English syllabus is exciting, especially once we're familiar with all the changes. So, have a peek at the infographic below to get a good overview of what we're saying 'hello' and 'farewell' to:

Ok, now let's look into each of the Areas Of Study (AOS) in detail. The following breakdown focuses on Units 3 and 4 of the new English syllabus:

Area of Study 1 - Reading and Creating

Students study:  2 selected texts from Text List 1 (see the 2017 VCE English Text List here).

Purpose:  To write an expository essay on the 1st text, and then a creative response on the 2nd text for Area of Study 1. 

SAC 1:  Write an analytical essay for Text 1 (~800-1000 words).

SAC 2:  Write a creative response + a written explanation (~800-1000 words or, if in the form of an oral presentation ~4-6 minutes).

What you should aim to do:  You will study both books in detail; looking at themes, characters, literary devices, author's intention and more. Know that the study of these two texts do not overlap at any point - you study them separately for two separate SACs (see below!).

Side note: The 'Writing in Context' component from the old syllabus has been semi-integrated into 'Reading and Creating'. This is the only part of the new course where you have the opportunity to experiment with your creative writing skills. Keep in mind that there will not be a creative component in your VCE English 3/4 exam ( I can hear so many sighs of relief )!

Area of study 2 - (Part I) Analysing argument

Purpose:  The ultimate goal is to demonstrate your understanding of how the author constructs their argument in an attempts to persuade the reader to agree with his or her contention. Here you analyse a variety of different forms of publication, from opinion articles, editorials, speeches to cartoons and diagrams. Learn more on 'How the author intends to persuade their readers'  blog post here .

SAC 3 : An analysis and comparison, in written form, of argument and the use of persuasive language in two to three texts (written or visual) that present a point of view on an issue (~800-1000 words).

What you should aim to do:  The highest marks in this SAC will be rewarded to those who can clearly explain the connection between author's use of language, and how that enables the development of their ideas. Avoid listing language techniques and offering your personal judgement on whether or not the article is effective in persuading you. You goal is to objectively investigate how the author constructs their article via argument and certain language choices.

Area of study 1 - Reading and Comparing

Purpose: To explore meaningful connections between two texts. You will be using compare and contrast skills (see our blog post on Compare and Contrast Essays ).

SAC: A 900-1200 word essay offering a detailed comparison between ideas, issues, and themes of both texts.

What you should aim to do: Avoid superficial connections. Simply referring what is similar and different between the two plot events will not score you many marks. The key here is to look at the bigger picture – what are the major values and messages that the texts deliver? Are they aligned? Are they the opposite? To ensure you’ve got your Reading and Comparing at an A+ level, download my FREE Reading and Comparing sample chapter from my latest VCE English study guide.

Area of study 2 - (Part II) Presenting argument  

Purpose:  Students must prepare an oral presentation based on a topic debated in the media. It has to have appeared recently, which means it can only be a topic that has appeared in the media since September the previous year. This section pushes you to research and form a stance on the issue, where you will then write your own persuasive speech using the skills you have gained from studying 'Analysing Argument'. On top of that, you will need to focus on your delivery of the speech, which includes things like tone, pace, eye-contact, and much more! If you're curious to learn more, have a look through some of our posts on  Oral Presentation  ideas for inspiration!

SAC :  A sustained oral piece (~4-6 minutes) that presents a point of view relating to an issue currently in the media + a written explanation (~300-500 words) explaining your decisions made in the planning process, and how these demonstrate your efforts in attempting to persuade the audience.

What you should aim to do:   If your school hasn't made the decision for you already, it's crucial that you choose a topic that is original and offers you room for argument. This means avoiding topics where majority of the public opinion already rests on one side (e.g. does climate change exist?). Writing a fantastic oral presentation is only the job half done, you need to ensure your delivery is spot on. Watch my video on quick presentation tips which helped me score full marks in my SAC!

That's my summary and some quick tips alongside to help you cruise through the year. Best of luck! 

If you are anything like me, the thought of standing up in front of a classroom, or even a small panel of teachers, having to hold the floor for five minutes, and being assessed on your performance is just about as terrifying as it gets. Where other students thrived on the oral presentation SAC, embracing its change of pace in comparison to the other written tasks, I dreaded it. I knew the feeling all too well: legs jelly-like and quivering, breath short and rapid, palms sweating, tongue uncomfortably heavy as the words tumble out too fast to keep up with…essentially (as I, a true master of the English language, would put it) the absolute worst. 

Fast forward to the present day and, I hate to break it to you, I am still not a fan of public speaking. But guess what? I did my oral presentation and I’m still alive to tell the tale. Plus, as a bonus, it did not involve me passing out, and as a double bonus, I still ended up with a great result. So I am here, my fellow members of the ‘Might Go Ahead and Drop Out of VCE so I Don’t Have To Do My Oral’ club, as proof that it can be done and to help you get through it. 

What Do We Mean by ‘Overcoming’?

As I have already mentioned, emerging triumphant from your oral does not require you to magically become a public speaking fanatic. Let me manage your expectations right now: that probably isn’t going to happen overnight, and likely never will. But you can still be good at public speaking, perhaps great at it, even if it scares you. Trying to figure out a magical formula of preparation that will have you breezing through the oral in total zen-mode is not only going to waste your time, but will likely also make you more frightened when you realise that you can’t completely shake the nerves. So, by accepting the reality that the fear probably isn’t going to go away any time soon we can start to learn how to manage it, at least succeed in spite of it, and hopefully even use it to our advantage. 

Selecting a ‘WOW’ Topic

Arguably the best way to improve the delivery, and overall quality, of your oral presentation is to choose a topic and contention that you actually care about. In our eBook How to Write a Killer Oral Presentation we cite the first pillar of the process as being to choose a ‘WOW’ topic and contention . As Lisa says,

“an inherently interesting topic means that you’ll showcase your opinions in an authentic way, which is incredibly important when it comes to presentation time.”

This becomes particularly significant for someone dealing with a fear of public speaking because of this basic principle: when you care about something it is easier to talk about, even in front of other people. This means that you don’t just need to choose a topic that will engage your audience, but also one that you yourself find engaging. 

Fear is an intense emotional response to a situation, and as we know it can easily consume us in the moment. If your oral topic is boring and does not interest you on a personal level then what is going to be the strongest emotion you feel when delivering it? Fear. However, passion is another intense emotional response, and so if you are passionate about the arguments you are making then, although your fear will still be there, you will feel another strong emotion that can balance it out. 

So how do you find a contention that you care about? Often the best place to start is to think about the things that affect your life. We know that your topic has to have been in the media since September of last year, but lots of things are on the news and they don’t only matter to the older generations. Think about issues that relate to schools, jobs, climate change, animals, drug-taking, fashion – these are all aspects of our lives that you might be able to form a personal connection to, and that personal connection will help you find the passion you need to get through the speech, and also get through to your audience. Check out our 2021 Oral Presentation Topics for some topic inspiration, and then learn how to create a killer contention here . 

More About the Voice, Less About the Words

It is quite likely that if you know you struggle with the delivery of oral presentations, you might try to compensate by overreaching with your script. For someone who feels more comfortable with written assessments, it can be easy to try to make the oral as close to one as possible by writing it almost as you would an essay – using lots of impressive vocabulary, complex sentences and a formal structure. This approach is all well and good until you try to say it all out loud. This isn’t to say that your command of language isn’t important to the oral, but by trying to craft a safety net of eloquent, written words you are simply distracting yourself from what makes this SAC unique; you can’t avoid the fear by avoiding the task altogether. So, you need to write a speech that you can say, not just one that sounds good on paper. Writing with the wrong sense of tone is one of the points we touch on in 5 Common Oral Presentation Mistakes.

During the writing process, you need to make your speech work for you rather than make yourself work for it. This means constantly thinking about what the words will sound like in front of an audience, and not making the performance unnecessarily hard for yourself before you even start practicing. When you’re already nervous about speaking in front of other people, the last thing you want to have to worry about is tripping over difficult language to make convoluted arguments. So, simplicity and punch is always better than verbosity and pretence. Here are some ideas of how to use this strategy:

• Make your arguments short, sharp, and to the point. Avoid going off on any tangents, and just stick to the main points you need to get across. You are trying to persuade your audience, not confuse them. 
• Use a mixture of long and short sentences, because a script that uses varied sentence structures is easier to say out loud without stumbling due to nerves. Short, bold statements are both less prone to being mangled by nerves and more memorable for your listeners – just make sure you don’t only use short sentences and prevent your oral from flowing. 
• Think about where you can schedule in pauses for emphasis, because these will give you space to stop and catch your breath without revealing your nervousness. 
• Write like you speak! Of course you want your tone to be assertive and intelligent, but it is possible to maintain this whilst also incorporating some relaxed language. You are allowed to use the first person in this task, so take the opportunity to personalise what you say, which will help you appear more comfortable and also form a personal connection with your audience. Remember that an oral is essentially a conversation with your audience, even if they don’t get to speak back, and this means that as long as you don’t use slang you can have some fun with your delivery. 
• Don’t rely on an essay-like structure. Your audience won’t know when a paragraph ends, so the way the script looks on the page is largely irrelevant. Make it easy for yourself to follow. 

Remember, when you struggle with a fear of public speaking it is difficult to make what you say in the spotlight sound natural. To overcome this, you want to prepare yourself to almost sound unscripted (as ironic as that sounds). Without slipping into an overly casual or informal voice, it is best if you sound comfortable and relaxed when addressing your audience. This is of course the exact opposite of how you might feel going into the assessment, so you write a speech that will make you seem like you aren’t worried about passing out. The ancient adage ‘fake it ‘til you make it baby’ definitely rings true here. However, that said, really believing what you are saying and caring that the audience believes it too, as we advised earlier, will also help you avoid sounding forced and uncomfortable. 

Preparation and Memorisation

Another mistake often made when attempting to compensate for a fear of public speaking is to rely too heavily on cue cards in the oral. Having your entire speech on hand when you complete the assessment just in case you get lost might seem like a good idea, but it is most likely actually going to hold you back from giving your best performance. Ideally, you want to have done enough preparation so that you do not need to look at your notes at all. As we discussed earlier, having a script that is as simple as possible, and that mimics your speech patterns, will help you sound less fearful – and will also be easier to memorise.

Memorise your speech by practicing it as much as possible. Make sure to get your script written as far in advance as you can, so you have plenty of time to practice without stressing yourself out further. When you do practice, do so standing up, envision an audience in front of you (or practice in front of friends or family), and rehearse how you might move around the space as you talk. You can start by having your whole script with you, but eventually you should work up to only needing a few dot points for each section that can jog your memory if you forget. This strategy might seem to make the speech even scarier, but in reality not reading off a script will help you relax into the performance, and allow you to focus on your movements and voice. Practicing enough to have the speech memorised will also help build your confidence. 

Making the Most of Your Nerves

As much as I would love to tell you that you can be ‘cured’ of your fear of public speaking, it is best to accept that the nerves are going to be there and learn how to succeed in tandem with them, rather than just hoping that they go away. Instead of being convinced that fear is going to be your downfall, try to think about how, as impossible as it sounds, you can use the nerves to your advantage. Apart from making you jittery and uncomfortable, nerves also boost your energy and adrenaline, and with the right attitude you can turn this energy into confidence. Instead of letting your nerves cause you to close up, you can use them to help you open up. Often those of us who fear feeling exposed in front of a crowd have quiet, reserved personalities that we might think of as preventing us from being able to perform. However, when our bodies are flooded with nerves this ‘wired’ feeling can be used to help us project our voices and to take up space, therefore driving us to appear more outgoing. Instead of just making you feel ‘on edge’, a manageable amount of nervous energy can give you an edge that will amp up your performance. 

Even if all of this sounds completely different to your experience of fear, what I am trying to communicate is that the way you frame the oral, and the nerves that come with it, in your mind makes all the difference. If you convince yourself that you are too scared of public speaking to ever succeed with this task, you are severely limiting your chances of achieving a positive outcome. So, focussing on retraining your mindset in the lead up to delivering your speech is very important. Try not to think of this one assessment task as being a make or break five minutes, and instead view it as a learning experience that you can use to your advantage. After all, public speaking is something most of us will have to deal with multiple times over the course of our lives, so you may as well work on getting better at it. That said, my number one piece of advice about the oral presentation is to…*drumroll please*...not take it too seriously! This might sound unrealistic, and I am definitely not telling you to put in less effort, but the more pressure you put on yourself the more nervous you are going to be. Choose a topic that interests you, believe in your contention, make use of humour and personal anecdotes, and just have fun with what you say! Your fear is probably going to be your biggest obstacle, so make it as easy as you can on yourself and the rest should fall into place…as long as you put in the work. 

Finally, our Ultimate Guide to Oral Presentations is a must-read for anybody who is doing an Oral Presentation!

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

[Video Transcription]

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

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

Essay Topic

‍ Today's chosen essay topic is:

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

‍ Step 1: Analyse

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

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

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

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

‍ Body paragraph 1:

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

Body paragraph 2:

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

Body paragraph 3:

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

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

Reckoning & The Namesake are studied as part of VCE English's Comparative. For one of our most popular posts on Comparative (also known as Reading and Comparing), check out our Ultimate Guide to VCE Comparative .

• Inheritance of Trauma 
• Identity and Naming
• Memory and Retrospect

Magda Szubanski’s memoir, Reckoning, and Jhumpa Lahiri’s bildungsroman, The Namesake, follow misguided protagonists as they attempt to reconcile and ‘reckon’ with complicated family histories. Magda is burdened by her father’s legacy, whilst Ashoke’s distressing train accident lays the foundation for Gogol’s uncertainty, exposing the inescapable and often inscrutable marks that trauma leaves on the identities of later generations. With a large focus on inherited trauma , identity and memory , we’ll be breaking down some crucial quotes from each of these texts to better understand these key themes. 

For a deeper look into some of the themes in Reckoning and The Namesake , check out this earlier post . And, if you need a refresher on how to properly embed quotes in your writing, take a look at How To Embed Quotes in Your Essay Like a Boss . 

1. Inheritance of Trauma

Whether it be the hardships of war or the adversity of misfortune, both texts observe family timelines steeped in history and trauma. Magda and Gogol are inadvertently burdened by their parents’ experiences, which remain obscure and confusing to the two protagonists and only complicate their identities. 

We were tugboats in the river of history, my father and I, pulling in opposite directions. He needed to forget. I need to remember. For him, only the present moment would set him free. For me, the key lies buried in the past. The only way forward is back. (p. 13)

This quote is intrinsic to the authorial intent behind Szubanski writing her cathartic memoir. The experiences of Magda’s father in war-torn Poland are, as Magda expresses, ‘passed on genetically’. Yet, with Zbigniew’s instinct to ‘[clamp] down tight on all feeling’, his trauma remains unrevealed and unexamined during much of Magda’s life. This impenetrable history impresses onto Magda as intergenerational trauma, which leaves her an ‘unregulated mess’, constantly  ‘ricocheting between feeling nothing and feeling everything’. 

As Magda accurately describes, both she and her father are metaphorical ‘tugboats in the river of history’, drawn in completely opposite directions to resolve their traumas. For her, digging into the ‘buried’ past is vital to understanding her father and herself. As she puts it, ‘the only way forward is back’. This is entirely the opposite for Zbigniew, who is unwilling and unable to articulate his trauma in anything other than ‘incoherent…jottings’ and ‘fragments’. Burdened by his past, Zbigniew prefers living in the present moment where he can suppress and avoid the past. However, this difference in how the two approach trauma leads to a strained father-daughter relationship founded upon a lifetime of misunderstandings and secrecy that only deepen their inability to understand one another. 

‘ Even at that young age,’ Mum told me, ‘I knew, I knew I had done something wrong.’ When she told me this her face caved in, stricken with remorse. Actors can never replicate this look. Meg didn’t punish her, but ‘Oh! The look of disappointment on my poor mother’s face.’ Now, today, more than eighty years later, my mother still feels the stinging sense of guilt.  History repeats. That story of how, when I was six, I got blood on my best dress before a trip to take Dad to hospital. Mum slapped my leg in hasty anger. I understand now, of course, that it was herself she was slapping. Her life-loving, disobedient six-year-old self. We are bookends, she and I. (p. 346)

Intergenerational trauma surfaces as ‘patterns’ within the Szubanski family, where regret and resentment are passed down as ‘hand-me-down trinkets of family and trauma’. Magda uses the metaphor of ‘bookends’ to describe her and her mother’s remarkably similar experiences dealing with familial trauma. In other words, both Magda and Margaret are mirror images of each other, both having a shared experience of supporting and living with ill fathers. When Magda gets ‘blood on [her] best dress’ before another trip to the hospital, Margaret ‘slap[s her] leg’. Although Magda initially mistakes this reaction as ‘hasty anger’, hindsight allows her to understand that Margaret was preoccupied with a ‘stinging sense of guilt’, and was reprimanding herself - the ‘disobedient six-year-old self’ who had similarly ruined her own ‘special dress’. This realisation suggests that even though trauma ‘repeats [like]…history’, there is a generational difference in the way individuals are able to process and respond to situations of grief, poverty and war. 

‍ The Namesake

And suddenly the sound of his pet name, uttered by his father as he has been accustomed to hearing it all his life, means something completely new, bound up with a catastrophe he has unwittingly embodied for years. "Is that what you think of when you think of me?" Gogol asks him. "Do I remind you of that night?" "Not at all," his father says eventually, one hand going to his ribs, a habitual gesture that has baffled Gogol until now. "You remind me of everything that followed." (p. 124)

Just as Magda inherits Zbigniew’s harrowing war experience, Ashoke’s own ‘persistent fear’ from the train derailment that cripples him lives on through his son’s name. His chance rescue whilst ‘clutching a single page of ‘The Overcoat’’ is meaningful and life-altering. For Ashoke, naming his child after the ‘Russian writer who had saved his life’ emphasises his profound appreciation for surviving the accident. His son Gogol is a comforting reminder of ‘everything that followed’. In this way, Gogol acts as a symbol of both redemption and hope, representing Ashoke’s optimistic appraisal of his accident and his determination to make the most of his miraculous rescue. 

But for Gogol, the memory of his father’s accident is entirely foreign and lacks any real meaning for him. His childhood pet name ‘Gogol’ - which he has always resented for making him feel out of place around other kids - suddenly becomes ‘something completely new’ when he discovers the truth about Ashoke’s accident. Gogol feels enormous pressure to live up to his father’s expectations as he represents a ‘catastrophe he has unwittingly embodied for years’. This is the source of much of Gogol’s guilt, confusion and resentment (towards his name, father, family and entire culture) and gradually erodes his sense of self. However, this inscrutability of the past only deepens Ashoke’s and Gogol’s similarity, whilst complicating and straining their father-son dynamic. Ashoke is unable to recognise the burden he has placed on his child, whilst Gogol alternatively cannot appreciate or truly understand being a miracle and source of salvation for Ashoke. Like with Magda and Zbigniew, here, father and child are unable to understand each other, creating a schism in their relationship which they are never able to reconcile. In any case, Lahiri conveys that the actions of enduring and processing trauma are intertwined and often leave permanent traces across future generations.

But Gogol is attached to them. For reasons he cannot explain or necessarily understand, these ancient Puritan spirits, these very first immigrants to America, these bearers of unthinkable, obsolete names, have spoken to him, so much so that in spite of his mother’s disgust he refuses to throw the rubbings away. He rolls them up, takes them upstairs, and puts them in his room, behind his chest of drawers, where he knows his mother will never bother to look, and where they will remain, ignored but protected, gathering dust for years to come. (p. 71)

Lahiri also indicates generational similarities in how individuals relate to trauma. As a second-generation migrant who has always felt displaced from his culture, Gogol’s graveyard field trip allows him to experience a semblance of belonging in Massachusetts for the first time and relate to America’s ‘very first immigrants’. While Ashoke profoundly connects to the Russian writer Nikolai Gogol, his son Gogol refuses to get rid of the etchings of archaic names. These ‘ancient Puritan spirits’ with similarly ‘unthinkable, obsolete names’ like his own provide Gogol with a source of relief and offer proof that he is not alone in his differences. He feels protective of them - conveying his own desires to defend himself against childhood bullies, and also providing a way to preserve this first true moment of belonging. 

Just as ‘The Overcoat’ resonates with Ashoke, Gogol feels connected to the etchings and conceals this single page from his mother Ashima, who is resentful of the peculiar American school excursion. Similarly, Ashoke struggles to convey the deep significance behind his own liberating ‘single page’ from the Russian book. In this way, both pages remain ‘ignored but protected’ and, for both father and son, symbolise the power of literature and storytelling to salvage their profoundly intimate and life-altering moments that are unfathomable to others. 

2. Identity and Naming

Both Reckoning and The Namesake suggest that hasty personal reinventions can only temporarily suppress, rather than truly resolve, trauma. The ‘self-made man’ Gogol strives to be, and the ‘mostly-self created…Little Englishman’ identity that Zbigniew carves for himself, are simply ‘bandaids plastered over’ unresolved grief and hardships. Cut off from family and history, these facades only worsen their inner discontent and complicate identities. 

For my father Australia was love at first sight. The moment we landed he knew he had done the right thing. The blast-furnace heat invigorated him. Only mad dogs and my father would go out in the midday Australian sun. He wouldn’t just go out in it…he would mow the lawn in it. We had a big, bumpy, untamed backyard and when the mercury hit 103 degrees Fahrenheit he’d be out there dragging the lawnmower across every inch of it. Wearing Bombay bloomers and a terry-towelling hat, singing Polish songs over the din of the mower. (p. 44)

Escaping battle-scarred Poland and the origins of his trauma, Zbigniew is a migrant who ‘could not shed his Polishness fast enough’. He ‘crosse[s] the world to get away’ from his destroyed and tarnished home. Zbigniew begins a ‘second life’ as Peter, and like the Polish amber Magda’s cousin gifts her, Zbigniew is ‘transformed by pressure’ (a metaphor for the natural formation of amber) into the ‘Little Englishman’. This persona is a role he takes with grave determination - an echo of the ‘killer instincts’ he suppressed from his abandoned life as a Polish assassin. Bewildering the rest of his family, Zbigniew relishes the ‘invigorat[ing]…blast-furnace heat’ of Australia, and acts the part of a true Aussie in his ‘Bombay bloomers’ and ‘terry-towelling hat’. This characteristically Australian ensemble essentially functions as another battle armour he equips himself with to protect his blemished soul, tainted by a history so ‘bizarrely awful’ that his only way to survive is by ‘clamping down tight’ through an ironclad persona. 

Magda recalls him ‘forever trying to tame th[e] lumpen block’ of ‘untamed’ and ‘unpredictable’ soil in their yard, ‘dragging the lawnmower across every inch’. This crystallises the truth of his life: no matter how committed Zbigniew is to perfecting any project, simply plastering order (trying to tame the lawns by mowing them) over chaos (heat + lumpen, untamed, unpredictable soil) leaves the trauma unresolved.

The rest of it went smoothly and before too long I had my entire sharpie uniform. Only one thing was missing—a Conti. This smart striped cardigan, worn high and tight, was the centrepiece of the ensemble, the definitive wardrobe item of the sharpie. But none was available, not in Croydon anyway. We had to settle for a plain cardie, rolled up at the bottom until it sat under my boobs. I never did get a Conti. I think it was a sign. (p. 126)

Like her father, Magda toys with personas herself. Identity is fluid and inconstant for Magda, often fluctuating between a form Zbigniew would be proud of, one she hopes would trigger any emotional reaction from him, and one desperate to fit within the social climate of Croydon. She cultivates a variety of comic personalities and, like her father, pursues her own ‘tennis madness’ by becoming madly obsessed with the sport and playing competitively. Magda also attempts to embrace the dutiful Catholic ‘good girl’ personality she believes would satisfy her father, but she rebels when he continues to ‘display [no] emotion at all’ and embraces the Sharpie youth gang uprising in her neighbourhood. However, Magda ruefully mocks the contradictory nature of her Sharpie persona, describing her conversion as a hybrid - a ‘convent-school Sharpie’ - rather than the ‘true Sharpie chick’ she aspires to be. But, while all of these personas attempt to unite the ‘disparate, confusing parts’ of her identity, they just suppress the ‘real girl’ behind the mask and leave her more dissociated from herself than ever before. 

Magda goes to great lengths to ‘smoothly’ acquire the perfect Sharpie disguise, but even with the ‘entire Sharpie uniform’, her facade is flawed; she lacks the Conti cardigan, which is the ‘definitive wardrobe item of the sharpie’. Her Sharpie identity becomes a parody of the authentic Australian youth gang. The flaws behind her imitation persona are worsened when Magda tries to replace the Conti ‘centrepiece’ with a simple ‘plain cardie, rolled up at the bottom’. Magda only realises this when she barely avoids a ‘beating’ by a ‘predatory Sharpie’ whilst vulnerable, dressed in her convent-school uniform, and unrecognisable as a fellow gang member. Here, she is finally able to concede that she has only been ‘playing at being a bad girl’ and laments, ‘I never did get a Conti. I think it was a sign’ - wryly foreshadowing the inevitable dissatisfaction of teenage facades. 

The Namesake

"I'm Nikhil now," Gogol says, suddenly depressed by how many more times he will have to say this, asking people to remember, reminding them to forget, feeling as if an errata slip were perpetually pinned to his chest. (p. 119)

Gogol’s place in the world as an ‘American Born Confused Deshi’ (ABCD) is his own ‘awkward [truth]’. Like his own name which he scornfully labels a ‘scratchy tag’, his status as an ‘ABCD’ is another brand he is ‘forced permanently to wear’. He is both ashamed and resentful toward his second-generation migrant identity and feels ‘neither Indian nor American’ whilst mocked for his nickname that is ‘of all things Russian’. Indeed, Gogol’s entire adolescent experience is eclipsed by his confusion about ‘who he is’ as he struggles to obtain any stable foundation for his identity. 

Unlike the costumes and disguises that Magda and Zbigniew embrace, Gogol takes action by solemnly changing his name to Nikhil, the ‘one that should have been’ given to him all those years ago. But even Gogol is acutely aware that this ‘scant’ persona leaves him having to repeatedly reinforce and assure others (and himself) of his identity. Gogol actually rejects the name ‘Nikhil’ on his first day of preschool, foreshadowing the inward dissociation he experiences later in life. He is again ‘afraid to be Nikhil, someone he doesn’t know.’

Similarly, the flask Gogol’s sister Sonia gives to him for his thirtieth birthday, inscribed with his new initials NG, becomes a symbol of his inability to ‘break from that mismatched name’. Lahiri indeed suggests that identities are unavoidably ‘engraved’ with the layered ‘randomness’ of their lives and cannot be easily dissolved. 

And then he returned to New York, to the apartment they’d inhabited together that was now all his. A year later, the shock has worn off, but a sense of failure and shame persists, deep and abiding. There are nights he still falls asleep on the sofa, without deliberation, waking up at three A.M. with the television still on. It is as if a building he’d been responsible for designing has collapsed for all to see. And yet he can’t really blame her. They had both acted on the same impulse, that was their mistake. They had both sought comfort in each other, and in their shared world, perhaps for the sake of novelty, or out of the fear that that world was slowly dying. Still, he wonders how he’s arrived at all this: that he is thirty-two years old, and already married and divorced. His time with her seems like a permanent part of him that no longer has any relevance, or currency. As if that time were a name he’d ceased to use. (pp. 283-284)

For the majority of his life, Gogol alternates between feeling irritation and resentment for his Bengali heritage, and profoundly longing to be truly Indian. Gogol has several failed relationships and romantic encounters: Kim, with whom he introduces himself as Nikhil ‘for the first time in his life’, then Maxine, who attracted him with the ‘gift of accepting her life’. But, like his indulgence of and immersion in the Ratliff’s self-satisfied American life, the interactions with these women feel like a ‘betrayal of his own’ culture, family and identity. 

It is ‘familiarity’ that draws him to Moushumi, a childhood Bengali family friend with whom he ’s[eeks] comfort’ in their shared culture. For Gogol, his relationship with Moushumi represents the possibility of salvaging a childhood he spent disliking, but for Moushumi it’s a betrayal of her principles of independence. She has ‘turn[ed] her back’ her Indian and American ties to embrace a third culture in France, a country with ‘no claim’ on her and none of the cultural pressures of her heritage. 

Gogol longs - ironically - for stability and ‘fall[s] in love with Gothic architecture’; he equates his failed marriage with Moushumi to a ‘building he’d been responsible for designing’. This is essentially Gogol’s way of dealing with the trauma of his divorce, translated into a form he can understand and process. And yet, even a year after their separation, a ‘sense of failure and shame persists, deep and abiding’ - Lahiri suggests that trauma, grief and heartbreak are embedded into our identities and we don’t require a set length of time to accept them. 

Both Moushumi and Gogol come to realise that they were sustained merely by ‘the same impulse’ to erase discomfort, their marriage ‘collaps[ing] for all to see’. Their relationship becomes meaningless and their time together dissolves like a ‘name [Gogol had] ceased to use’. Lahiri conveys that re-entering and recreating a life once discarded (as harshly as Gogol discards his own name) is impossible, even irrational. 

3. Memory and Retrospect

It is no surprise that retrospect and remembrance emerge as central themes in both Reckoning and The Namesake . Gogol’s resented ‘namesake’ itself is a conduit for redemptive memory, whilst Magda ascertains the value of history to ‘salvage’ the present.

I wanted to know; I didn’t want to know. Without realising it I plotted a course somewhere between the two. My father, unable to get any further with his own attempts at a reckoning, had simply closed the door on the past. And now I was about to open that door. (p. 290)

Retrospect specifically becomes a vital motif in Reckoning as Szubanski uses her memoir to ‘join up the dots of [her]self’ and gain perspective on her father’s ‘unresolved and unexamined feelings’. Through her adult perspective, she reflects on her early doubts as she is finally able to appreciate and understand her heritage, reading ‘ Dni Powstania ’ and ‘Exodus’ on the Poles’ shame. Although Magda and Zbigniew ‘[pull] in opposite directions’ for most of her life, only by becoming the ‘collector of [Zbigniew’s]…stories’ and taping his ‘confession’ are the two brought to some level of understanding. Magda is finally able to ‘ rozumiesz ’ (to understand) that her father had ‘never helped the Nazis’, and on some level, ‘feel the feelings [her] father could not allow himself’. Perhaps more importantly, Zbigniew is able to share the paradoxical nature of his guilt - ‘what he had done in the name of good’ - feeling neither ‘ashamed’ nor ‘proud’ of his past. His reflection through the outlook of a ‘half old, half young’ version of himself mirrors Magda’s own introspection - in this sense, the ways in which Magda and Zbigniew are resolving (or at least learning to accept) trauma are ‘repeat[ing like]…history’ in their family. 

I was never told anything much about Luke. But my mother’s eyes—beneath the humour—were haunted by a deep, fretting sadness. Behind the querulous hypervigilance, the nitpicking, the irritability, there cowered a terrified child. A child full of panicky uncertainty about everything. I wanted to reach back and grab her hand and pull her through time and…what? I wanted to hug my mother when she was a child, to tell her everything was all right. (p. 336)

Szubanski observes how generations of poverty and war have shaped her mother’s ‘flinty’, unyielding determination to ‘just…get on with it’ and move on from adversity. Her ‘deep, fretting sadness’ hidden ‘beneath [her] humour’ is compassion and grief for her father, Luke, who ‘woke every night screaming’ after the war. This resonates strongly with Magda because her own father’s war experience mirrors Luke’s. The two families (Magda’s family, and her mother’s family) are forced to ‘[walk] on eggshells for fear of detonating [them]’. 

However, Magda is able to understand that her mother’s capricious tendency to ‘cling like a python then turn and snap like a crocodile’ is a product of her trauma, which allows Magda to understand Margaret’s character on a more intimate and genuine level. Magda, as a neglected and ‘terrified child’ with ‘panicky uncertainty’ herself, empathising with Margaret’s own troubled childhood allows Magda to offer her mother the comfort and support she craved when struggling alone beneath Zbigniew’s ‘exacting…standards’. Through this, Szubanski seems to suggest that although the legacy of trauma is an ongoing and deeply complex process, ‘reach[ing] back’ to process unresolved traumas together becomes a precious and vital way to ‘salvage’ bruised relationships. 

There is no question of skipping this meal; on the contrary, for ten evenings the three of them are strangely hungry, eager to taste the blandness on their plates. It is the one thing that structures their days: the sound of the food being warmed in the microwave, three plates lowered from the cupboard, three glasses filled. The rest of it—the calls, the flowers that are everywhere, the visitors, the hours they spend sitting together in the living room unable to say a word, mean nothing. Without articulating it to one another, they draw comfort from the fact that it is the only time in the day that they are alone, isolated, as a family; even if there are visitors lingering in the house, only the three of them partake of this meal. And only for its duration is their grief slightly abated, the enforced absence of certain foods on their plates conjuring his father's presence somehow. (pp. 180-181)

Even in death, Ashoke’s spirit is able to heal his fractured, grief-ridden family - truly and ultimately ‘transcend[ing] grief’, fulfilling the destiny his name’s meaning set out for him. Surrounded by meaningless condolences and forced sympathy - the ‘calls’, the ‘flowers’ and the ‘visitors’ - the Ganguli family is left ‘unable to say a word’ or process their loss in a safe and judgement-free space. The ‘mourner’s diet’ that sustains them, even in all its ‘blandness’, is able to ‘slightly [abate]’ their grief; it ‘conjur[es Ashoke’s] presence’ and unites the ‘isolated’ Gangulis ‘as a family’. Ironically, these cultural traditions that young Gogol so adamantly refused become the ‘only thing that seems to make sense’. Preserving and honouring Ashoke’s memory, this forsaken custom becomes an unanticipated lifeline for a family torn apart by cultural expectations, irreconcilable differences and shared tragedy. 

"Try to remember it always," he said once Gogol had reached him, leading him slowly back across the breakwater, to where his mother and Sonia stood waiting. "Remember that you and I made this journey, that we went together to a place where there was nowhere left to go." (p. 187)

Unlike Magda and Zbigniew who are able to reconnect in life, Gogol’s own poignant flashbacks with his father are cherished only after his death. However, it is only with this hindsight that Gogol is truly able to appreciate these initially resented, perhaps forgotten, moments as meaningful connections to his family. Gogol’s relationship with his father is tragically underpinned by a lifetime of misinterpretations and misunderstood trauma, the two unable to understand each other’s disparate outlooks on life and culture. However, when they visit Cape Cod both Gogol and Ashoke are, if only momentarily, pioneers. They are exposed to the world, just as Ashoke had been when he migrated to America; the two travelling ‘together to a place where there was nowhere left to go’. 

Gogol indeed grapples with a desire for stability and meaning throughout his entire life, bewildered by the ‘unintended’ series of ‘defining and distressing’ events. However, family indeed becomes the source of true security for Gogol. ‘Remember[ing]…always’, he preserves the memory of his father, and resistant to time and change, it remains a comforting constant amidst the ‘randomness’ that characterises and complicates his family’s life.

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Compare/Contrast Essay

Writing for success: compare/contrast, learning objectives.

This section will help you determine the purpose and structure of comparison/contrast in writing.

The Purpose of Compare/Contrast in Writing

Comparison in writing discusses elements that are similar, while contrast in writing discusses elements that are different. A compare-and-contrast essay, then, analyzes two subjects by comparing them, contrasting them, or both.

The key to a good compare-and-contrast essay is to choose two or more subjects that connect in a meaningful way. The purpose of conducting the comparison or contrast is not to state the obvious but rather to illuminate subtle differences or unexpected similarities. For example, if you wanted to focus on contrasting two subjects you would not pick apples and oranges; rather, you might choose to compare and contrast two types of oranges or two types of apples to highlight subtle differences. For example, Red Delicious apples are sweet, while Granny Smiths are tart and acidic. Drawing distinctions between elements in a similar category will increase the audience’s understanding of that category, which is the purpose of the compare-and-contrast essay.

Similarly, to focus on comparison, choose two subjects that seem at first to be unrelated. For a comparison essay, you likely would not choose two apples or two oranges because they share so many of the same properties already. Rather, you might try to compare how apples and oranges are quite similar. The more divergent the two subjects initially seem, the more interesting a comparison essay will be.

The Structure of a Compare/Contrast Essay

The compare-and-contrast essay starts with a thesis that clearly states the two subjects that are to be compared, contrasted, or both and the reason for doing so. The thesis could lean more toward comparing, contrasting, or both. Remember, the point of comparing and contrasting is to provide useful knowledge to the reader. Take the following thesis as an example that leans more toward contrasting:

Thesis Statement: Organic vegetables may cost more than those that are conventionally grown, but when put to the test, they are definitely worth every extra penny.

Here the thesis sets up the two subjects to be compared and contrasted (organic versus conventional vegetables), and it makes a claim about the results that might prove useful to the reader.

You may organize compare-and-contrast essays in one of the following two ways:

• According to the subjects themselves, discussing one then the other
• According to individual points, discussing each subject in relation to each point

The organizational structure you choose depends on the nature of the topic, your purpose, and your audience.

Given that compare-and-contrast essays analyze the relationship between two subjects, it is helpful to have some phrases on hand that will cue the reader to such analysis.

Phrases of Comparison and Contrast

Writing an Compare/Contrast Essay

First choose whether you want to compare seemingly disparate subjects, contrast seemingly similar subjects, or compare and contrast subjects. Once you have decided on a topic, introduce it with an engaging opening paragraph. Your thesis should come at the end of the introduction, and it should establish the subjects you will compare, contrast, or both as well as state what can be learned from doing so.

The body of the essay can be organized in one of two ways: by subject or by individual points. The organizing strategy that you choose will depend on, as always, your audience and your purpose. You may also consider your particular approach to the subjects as well as the nature of the subjects themselves; some subjects might better lend themselves to one structure or the other. Make sure to use comparison and contrast phrases to cue the reader to the ways in which you are analyzing the relationship between the subjects.

After you finish analyzing the subjects, write a conclusion that summarizes the main points of the essay and reinforces your thesis.

Compare/Contrast Essay Example

Comparing and Contrasting London and Washington, DC

By Scott McLean in Writing for Success

Both Washington, DC, and London are capital cities of English-speaking countries, and yet they offer vastly different experiences to their residents and visitors. Comparing and contrasting the two cities based on their history, their culture, and their residents show how different and similar the two are.

Both cities are rich in world and national history, though they developed on very different time lines. London, for example, has a history that dates back over two thousand years. It was part of the Roman Empire and known by the similar name, Londinium. It was not only one of the northernmost points of the Roman Empire but also the epicenter of the British Empire where it held significant global influence from the early sixteenth century on through the early twentieth century. Washington, DC, on the other hand, has only formally existed since the late eighteenth century. Though Native Americans inhabited the land several thousand years earlier, and settlers inhabited the land as early as the sixteenth century, the city did not become the capital of the United States until the 1790s. From that point onward to today, however, Washington, DC, has increasingly maintained significant global influence. Even though both cities have different histories, they have both held, and continue to hold, significant social influence in the economic and cultural global spheres.

Both Washington, DC, and London offer a wide array of museums that harbor many of the world’s most prized treasures. While Washington, DC, has the National Gallery of Art and several other Smithsonian galleries, London’s art scene and galleries have a definite edge in this category. From the Tate Modern to the British National Gallery, London’s art ranks among the world’s best. This difference and advantage has much to do with London and Britain’s historical depth compared to that of the United States. London has a much richer past than Washington, DC, and consequently has a lot more material to pull from when arranging its collections. Both cities have thriving theater districts, but again, London wins this comparison, too, both in quantity and quality of theater choices. With regard to other cultural places like restaurants, pubs, and bars, both cities are very comparable. Both have a wide selection of expensive, elegant restaurants as well as a similar amount of global and national chains. While London may be better known for its pubs and taste in beer, DC offers a different bar-going experience. With clubs and pubs that tend to stay open later than their British counterparts, the DC night life tend to be less reserved overall.

Both cities also share and differ in cultural diversity and cost of living. Both cities share a very expensive cost of living—both in terms of housing and shopping. A downtown one-bedroom apartment in DC can easily cost $1,800 per month, and a similar “flat” in London may double that amount. These high costs create socioeconomic disparity among the residents. Although both cities’ residents are predominantly wealthy, both have a significantly large population of poor and homeless. Perhaps the most significant difference between the resident demographics is the racial makeup. Washington, DC, is a “minority majority” city, which means the majority of its citizens are races other than white. In 2009, according to the US Census, 55 percent of DC residents were classified as “Black or African American” and 35 percent of its residents were classified as “white.” London, by contrast, has very few minorities—in 2006, 70 percent of its population was “white,” while only 10 percent was “black.” The racial demographic differences between the cities is drastic.

Even though Washington, DC, and London are major capital cities of English-speaking countries in the Western world, they have many differences along with their similarities. They have vastly different histories, art cultures, and racial demographics, but they remain similar in their cost of living and socioeconomic disparity.

KEY TAKEAWAYS

• A compare-and-contrast essay analyzes two subjects by either comparing them, contrasting them, or both.
• The purpose of writing a comparison or contrast essay is not to state the obvious but rather to illuminate subtle differences or unexpected similarities between two subjects.
• The thesis should clearly state the subjects that are to be compared, contrasted, or both, and it should state what is to be learned from doing so.
• There are two main organizing strategies for compare-and-contrast essays.
• Organize by the subjects themselves, one then the other.
• Organize by individual points, in which you discuss each subject in relation to each point.
• Use phrases of comparison or phrases of contrast to signal to readers how exactly the two subjects are being analyzed.
• Provided by : Lumen Learning. Located at : http://lumenlearning.com/ . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Successful Writing. Provided by : Anonymous. Located at : http://2012books.lardbucket.org/books/successful-writing/s14-07-comparison-and-contrast.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Comparing and Contrasting London and Washington, DC. Authored by : Scott McLean. Located at : http://2012books.lardbucket.org/books/successful-writing/s14-07-comparison-and-contrast.html . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike

• Share full article

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Writing Comparative Essays: Making Connections to Illuminate Ideas

Breathing new life into a familiar school format, with the help of Times journalism and several winning student essays.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times and from our student contests that teenagers can learn from and emulate.

This entry aims to help support those participating in our Third Annual Connections Contest , in which students are invited to take something they are studying in school and show us, via parallels found in a Times article, how it connects to our world today. In other words, we’re asking them to compare ideas in two texts.

For even more on how to help your students make those kinds of connections, please see our related writing unit .

I. Overview

Making connections is a natural part of thinking. We can’t help doing it. If you’re telling a friend about a new song or restaurant or TV show you like, you’ll almost always find yourself saying, “It’s like _________” and referencing something you both know. It’s a simple way of helping your listener get his or her bearings.

Journalists do it too. In fact, it’s one of the main tools of the trade to help explain a new concept or reframe an old one. Here are just a few recent examples:

A science reporter explains the behavior of fossilized marine animals by likening them to humans making conga lines.

A sportswriter describes the current N.B.A. season by framing it in terms of Broadway show tunes.

An Op-Ed contributor compares today’s mainstreaming of contemporary African art to “an urban neighborhood undergoing gentrification.”

Sometimes a journalist will go beyond making a simple analogy and devote a whole piece to an extended comparison between two things. Articles like these are real-world cousins of that classic compare/contrast essay you’ve probably been writing in school since you could first hold a pen.

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15.8 Compare-and-Contrast Essay

Learning objective.

• Read an example of the compare-and-contrast rhetorical mode.

Comparing and Contrasting London and Washington, DC

Both Washington, DC, and London are capital cities of English-speaking countries, and yet they offer vastly different experiences to their residents and visitors. Comparing and contrasting the two cities based on their history, their culture, and their residents show how different and similar the two are.

Both cities are rich in world and national history, though they developed on very different time lines. London, for example, has a history that dates back over two thousand years. It was part of the Roman Empire and known by the similar name, Londinium. It was not only one of the northernmost points of the Roman Empire but also the epicenter of the British Empire where it held significant global influence from the early sixteenth century on through the early twentieth century. Washington, DC, on the other hand, has only formally existed since the late eighteenth century. Though Native Americans inhabited the land several thousand years earlier, and settlers inhabited the land as early as the sixteenth century, the city did not become the capital of the United States until the 1790s. From that point onward to today, however, Washington, DC, has increasingly maintained significant global influence. Even though both cities have different histories, they have both held, and continue to hold, significant social influence in the economic and cultural global spheres.

Both Washington, DC, and London offer a wide array of museums that harbor many of the world’s most prized treasures. While Washington, DC, has the National Gallery of Art and several other Smithsonian galleries, London’s art scene and galleries have a definite edge in this category. From the Tate Modern to the British National Gallery, London’s art ranks among the world’s best. This difference and advantage has much to do with London and Britain’s historical depth compared to that of the United States. London has a much richer past than Washington, DC, and consequently has a lot more material to pull from when arranging its collections. Both cities have thriving theater districts, but again, London wins this comparison, too, both in quantity and quality of theater choices. With regard to other cultural places like restaurants, pubs, and bars, both cities are very comparable. Both have a wide selection of expensive, elegant restaurants as well as a similar amount of global and national chains. While London may be better known for its pubs and taste in beer, DC offers a different bar-going experience. With clubs and pubs that tend to stay open later than their British counterparts, the DC night life tend to be less reserved overall.

Both cities also share and differ in cultural diversity and cost of living. Both cities share a very expensive cost of living—both in terms of housing and shopping. A downtown one-bedroom apartment in DC can easily cost $1,800 per month, and a similar “flat” in London may double that amount. These high costs create socioeconomic disparity among the residents. Although both cities’ residents are predominantly wealthy, both have a significantly large population of poor and homeless. Perhaps the most significant difference between the resident demographics is the racial makeup. Washington, DC, is a “minority majority” city, which means the majority of its citizens are races other than white. In 2009, according to the US Census, 55 percent of DC residents were classified as “Black or African American” and 35 percent of its residents were classified as “white.” London, by contrast, has very few minorities—in 2006, 70 percent of its population was “white,” while only 10 percent was “black.” The racial demographic differences between the cities is drastic.

Even though Washington, DC, and London are major capital cities of English-speaking countries in the Western world, they have many differences along with their similarities. They have vastly different histories, art cultures, and racial demographics, but they remain similar in their cost of living and socioeconomic disparity.

Online Compare-and-Contrast Essay Alternatives

Ellen Laird compares and contrasts traditional and distance education in I’m Your Teacher, Not Your Internet-Service Provider :

• http://celt.cui.edu/celt/webct_for_instructors/Laird_Article.htm

Deborah Tannen compares and contrasts conversation styles in Sex, Lies and Conversation: Why Is It So Hard for Men and Women to Talk to Each Other?

• https://static1.squarespace.com/static/5523ffe4e4b012b2c4ebd8fc/t/5627dc4de4b00c9587e32fa0/1445452877014/Sex%2C+Lies+and+Conversation.PDF

Alex Wright examines communication patterns, old and new, in Friending, Ancient or Otherwise :

• http://www.nytimes.com/2007/12/02/weekinreview/02wright.html

Writing for Success Copyright © 2015 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Identifying a Comparison Made in a Reading

LESSON Being able to identify a comparison A discussion of two or more things based on the categories of characteristics they share. Written comparisons must include both the subjects being compared and the similarities and/or differences between the subjects. in a reading A piece of writing to be read. A reading can either be a full work (i.e., a book) or partial (i.e., a passage). is a skill that you can use to help you read more efficiently and effectively. Comparison articles A non-fiction, often informative writing that forms a part of a publication, such as a magazine or newspaper. and essays A short piece of writing that focuses on at least one main idea. Some essays are also focused on the author's unique point of view, making them personal or autobiographical, while others are focused on a particular literary, scientific, or political subject. are arranged in logical patterns. This lesson will help you identify the two major elements of a comparative reading as well as the two organizational strategies A plan for arranging the structure of an outline or essay. There are many different strategies, such as point-by-point, subject-by-subject, or order of events. .

All comparisons include subjects The people, places, things, or ideas being discussed or described. , which are the people, places, things, or ideas being compared. All comparisons also include the points of comparison The criteria by which subjects are compared and/or contrasted. , that is, the criteria The standards or rules used to decide or judge something. being used to compare the subjects.

To identify the subjects, try the following strategies:

• Find the main idea The most important or central thought of a reading selection. It also includes what the author wants the reader to understand about the topic he or she has chosen to write about. . If the thesis An overall argument, idea, or belief that a writer uses as the basis for a work. or topic sentence A sentence that contains the controlling idea for an entire paragraph and is typically the first sentence of the paragraph. is evident, read it over; the two subjects are generally mentioned in the main idea.
• Highlight the words that are used the most. Read through the passage A short portion of a writing taken from a larger source, such as a book, article, speech, or poem. and circle or underline the words and phrases A set of words that express an idea. A phrase may or may not form a complete sentence. that are used most, as well as any synonyms A word or phrase that has an identical or very similar meaning to another word. Example: tiny is a synonym for small . and pronoun A part of speech that substitutes for a noun or noun phrase. Examples include: I , he , you , they . references. These words generally refer to the subjects.

To identify the points of comparison, it is useful to identify the organizational strategy. Once you have figured this out, the criteria will be evident.

Comparisons are arranged in one of two ways, point-by-point An organizational strategy for a comparison or compare and contrast essay. In this method, the writer lists the major points of comparison/contrast between subjects, and discusses them one at a time. A point-by-point comparison is useful for subjects that have many points of comparison because the reader can consider both subjects side-by-side. or subject-by-subject An organizational strategy for a comparison or compare and contrast essay. In this method, a single subject is discussed in detail, followed by a similar examination of the other subject. A subject-by-subject comparison is best used for less complex arguments that have fewer points, so that the reader can remember the points made about the first subject while learning about the second. .

Once you have highlighted the subjects in the comparison, it should be clear which organizational strategy the writer used. If it is a point-by-point strategy, the writer will discuss points of comparison, or common aspects, of the two subjects. For example, he or she might discuss the health benefits of apples and oranges, followed by the costs of apples and oranges, and so on.

If it is a subject-by-subject strategy, the writer will first discuss aspects of apples, then discuss parallel Using the same pattern of words to describe ideas in order to create balance in a writing. Parallel structure can be at the word-, phrase-, clause-, sentence-, and even paragraph-level. aspects of oranges. It is very important that the aspects being discussed are parallel, or the same. If the writer discusses how apples taste, but how oranges look, then that is not a real comparison. It is merely stating facts about each one.

These are simple examples, but think about how they apply to more important ideas. If an advertiser, for example, tries to convince you that one car is better than another, you must be sure that the advertiser is comparing the same aspects. If not, he is not being honest. Likewise, if a writer compares and contrasts two theories about the causes of the Civil War and concludes that one is more accurate, you should make sure that the writer is making parallel comparisons between the two to arrive at this conclusion.

Knowing the difference between subject-by-subject and point-by-point organizational strategies is like knowing the difference between your two favorite grocery stores. Both stores have all the things that you need, but the items will be located in different places. When you know the differences between the two stores, you can quickly find what you need in either place. It is the same with identifying organization in a reading. Both organizational strategies include the same elements, but they are organized differently.

Once you have practiced recognizing the organizational strategies used in writing, they will become easier to identify. This will make it much easier to read quickly and effectively and to recognize valid comparisons. This, in turn, will help you to make better choices, whether it be choosing between classes or evaluating arguments to see which is more compelling. 

Read each of the essays below. For each, note the subjects, the points of comparison, and the organizational strategy (whether it is a subject-by-subject or point-by-point comparison).

A trip to a renowned vacation area awaits you. Should you make plans to camp or stay in a hotel? Either option presents a range of advantages, from your social experience to your enjoyment of the natural features of the area.

If you can find a nice campground with roomy sites and some privacy, camping can be a great choice. For one, your home away from home—shelter, bed, and utensils—will be comprised of all your own equipment, which can add an element of familiarity and comfort to your trip. Lacking walls or doors around you, you will also have more opportunities to meet other travelers, and you will be open to the sights, sounds, and smells of a makeshift community—kids at play, laughter, music, food cooking, and fires burning. Finally, being open to natural beauty can be uplifting and renewing, and the occasional thunderstorm can be an exciting adventure. While the weather may not always cooperate, camping can be a fun and relaxing way of experiencing a destination.

A clean, attractive hotel or motel, however, can offer some distinct advantages as well. Since a hotel will provide your shelter, beds, linens, and other items, you will not need to pack as much or to clean anything except your clothes; moreover, by offering walls and a door, hotels ensure that you will be able to retreat definitively from society and to choose when to interact with other people and go out into the weather. As a result, you run less risk of suffering a noisy neighbor, and heat, cold, rain, wind, thunder, or insects that might put a damper on your vacation. You may still enjoy the great outdoors and the companionship of others, but it will be at your convenience. If you would prefer to have that extra measure of comfort and control, a hotel would be a better choice.

Any vacation can be dramatically different based on where you choose to stay. Camping presents some risks, but those risks can pay off and result in more adventure and fun. Hotels, however, are more likely to provide a more predictable atmosphere that you may need to relax. Either option can result in an enjoyable and rewarding vacation.

Subjects: outdoor camping versus staying in a hotel or motel

Points of comparison:

• level of privacy
• level of control/predictability

Organizational strategy: subject-by-subject

Here is another example.

Today's athletes might be surprised that the earliest runners did so while nude. As uncomfortable as that sounds, running is a great way to keep healthy, clothes or no clothes. Recent studies show that walking also offers similar benefits. Both are a great way to get in shape; however, one should understand the unique features of each before choosing between a running and a walking regimen.

Running and walking require different levels of time commitment. It is entirely possible to burn as many calories walking as it is running, but it will take much longer. The exact numbers depend upon how fast you run versus how fast you walk, but a good rule of thumb to remember is that it takes twice as long to walk off the same number of calories as it does to run them off. If you have a limited amount of time and want to burn as many calories as you can, running might be a better option; however, you may not be able to run very long, and in that case, walking, or at least a combination of the two, could be the best choice.

While both activities burn calories, their other benefits are quite different. Interestingly, studies show that runners are thinner than walkers, even when the two groups expend the same amount of energy. Researchers believe that running produces an appetite- suppressing hormone that walking does not. However, if you are looking to do more than lose weight, you may want to stick to walking. Walkers had a lower incidence of age-related cataracts when compared to both runners and the general population. Walkers also had lower incidences of high blood pressure, high cholesterol, heart disease, and diabetes. Which activity is best for you depends upon your health goals.

The last consideration one should make before choosing between a walking or running plan is the effort each requires. While it seems different than what you might expect, to stay healthy, runners actually need to slow down from time to time as they run. Walking breaks reduce injury. On the other hand, walkers would greatly benefit from picking up the pace a bit. This has been shown to lengthen walkers' lives. It seems that a combination of the two might offer more benefits than just one or the other. Hopefully future studies will delve into that very question.

According to a 2012 study in PLOS Medicine , people will gain seven more minutes of life for every six minutes that they exercise, and both running and walking can be excellent choices for you to increase your life expectancy and your overall lifestyle. As with any exercise routine, be sure to check with your doctor before beginning any new fitness regimen.

Subjects: walking versus running

• time commitment
• health benefits/risks
• effort required

Organizational strategy: point-by-point

Read each of the essays below. For each, identify the subjects, the points of comparison, and the organizational strategy (whether it is a subject-by-subject or point-by-point comparison).

If you are planting new trees in your yard, your first consideration may be whether to choose evergreens (trees that stay green all year long) or deciduous trees (trees that lose their leaves in the fall). What are the advantages of each? Both provide shade and beauty, but they will function differently throughout the year. To ensure that you will enjoy your trees at every stage of their long lives, consider the strengths of both types of trees before you make your decision.

Evergreen trees have pine needles or flat leaves and can be useful and attractive additions to your yard. With their dense branches and thick foliage, they can serve as ideal "working trees" to provide privacy, sound barriers, and windbreaks, and since they never lose their leaves, you will enjoy these advantages year-round. In addition, they grow quickly, and you will not have to wait long if your need for privacy or shade is acute. An evergreen's unique shapes and intense colors will add beauty to your yard in every season: their cool greens will stand in contrast to warmer fall colors, and they will remain bright against the grays and browns of winter. Consider these trees to add beauty, protection, and diversity to your deciduous tree plantings.

Deciduous trees have different but equally useful qualities that can enhance your yard. As "working trees," deciduous trees' wide canopies provide large areas of shade, and their sparse lower branches will not block ground-level views. While they do not grow as fast as many evergreens, these trees live longer, and you can count on enjoying their benefits for many years to come. Because deciduous trees lose their leaves in the fall and develop new ones in the spring, you will enjoy their seasonal changes in color and form. Throughout the spring, summer, and fall, they produce beautifully shaped and colorful flowers, leaves, and fruit in succession, and they lose their leaves in an unrivalled fall spectacle of orange, red, and gold. These changes also ensure that you will not only enjoy more shade in summertime but added light and warmth in winter. As handsome as evergreens, deciduous trees have a similarly wide range of strengths.

If you have the opportunity to plant trees in your yard, consider the many positive points of both evergreen and deciduous trees. Evergreens may have the advantage of maintaining their color and usefulness throughout the year, but deciduous trees, as they change, offer exceptional beauty and still serve many additional purposes as well. The choice of either will be a wonderful benefit to your home.

evergreen trees versus deciduous trees

• durability/rate of growth

subject-by-subject

If you are looking for a large, intelligent, active dog to provide service or companionship, many breeds could fit the bill. Of these, the German shepherd and the golden retriever are among the most popular, yet they are distinct in background and temperament. Their unique abilities make them suitable for different families and work roles.

While German shepherds were bred to herd sheep and golden retrievers to retrieve game, they share many of qualities that have made them excel at each job. Intelligent, obedient, and easily trainable, they are both eager to please and willing to work hard. Each has a superb sense of smell and is extremely agile, physical traits that fit them for their roles in hunting and herding. In other ways, they are suited best for their traditional tasks. Since shepherds are curious, protective, and territorial by nature, they have made superior watchdogs over sheep; with their love of water and gentle mouths, goldens are expert retrievers of waterfowl and other game. As such, they have been prized as working animals for many years.

Their traditional breeding has made shepherds and goldens proficient at some modern roles but less adept at others. With their intelligence, trainability, and acute senses of smell, both breeds are used both for search-and-rescue missions and detection work, where they identify explosives, illegal drugs, blood, and other scents. However, while shepherds were once the most popular guide dog for the blind, recent studies have suggested new roles for them. Since experiments show that shepherds excel at aggressive and defensive behavior, they are now more likely to be chosen for military and police work. Goldens, meanwhile, have been found to be more emotionally stable, friendly, and cooperative, and are now among the top breeds favored for guide work. As family pets, shepherds make excellent watchdogs, though they must be carefully socialized to be accepting of strangers. Goldens are valued for their gentle friendliness and are a good choice for families with young children and many visits from friends.

German shepherds and golden retrievers fulfill some of the most critical roles we have for working dogs, and they make wonderful companion animals. Traditionally developed for hunting and herding, they still perform those skills beautifully while expanding into new fields. They are as important to us as ever and are loved in our homes today.

German shepherds versus golden retrievers

• roles as pets

point-by-point

Sample Answer

I can go through and highlight the subjects or most used words and determine from there if the author is writing about first one subject, then the other, or if he or she discusses common aspects of the two subjects.

If I identify the organizational structure, it makes it easier to understand the points of comparison. It will also help me evaluate the quality of the comparisons being made and whether or not they are true comparisons. That will help me to evaluate the quality of the overall argument.

Copyright ©2022 The NROC Project

Writing Studio

Identifying and evaluating arguments.

In an effort to make our handouts more accessible, we have begun converting our PDF handouts to web pages. Download this page as a PDF: Identifying and Evaluating Arguments Return to Writing Studio Handouts

An argument differs from a description, a statement of belief or opinion, a hypothetical scenario, a command, or a mere set of facts. While each of these may have its own intents and purposes, an argument uses a series of statements to convince a listener or reader that certain facts, conditions, or positions are true.

Premises and Conclusions

An argument’s premise is an initial or foundational statement or assumption that sets forth the reason or evidence, and from which the conclusion of the argument follows. Often, the premises and the conclusions of an argument can be identified by the use of key words or phrases.

The following words and phrases might indicate a premise :

• as indicated by
• for the reason that
• in as much as
• may be inferred from
• seeing that

The following words and phrases might indicate a conclusion :

• accordingly
• entails that
• we may conclude
• it must be that
• it follows that
• consequently
• implies that
• as a result

Useful Questions for Evaluating an Argument

1. what assumptions does the writer make.

Does the writer assume that you will come to the text with certain knowledge, or that you will share certain of his or her values?

2. Does the writer have an agenda?

If the writer has a particular political slant, for example, where does it show through in the argument? Does it sway or influence his or her interpretations of the evidence? How?

3. How does the author use language?

What is the writer’s tone of voice? Are there specific words that you find intriguing, effective, ineffective, or downright bizarre? Are there specific rhetorical “moves” being made, effectively or ineffectively?

4. How convincing is the writer’s evidence?

Does it come from trustworthy and credible sources? Is it relevant? Does the writer interpret that evidence in a way that makes sense?

5. How convincing is the writer’s overall argument?

Do you think the writer accomplishes what she set out to accomplish? Depending on the assignment, your answer to this question may be your thesis!

Last revised: 7/2008 |  Adapted for web delivery: 2/2021

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Guide to Different Kinds of Essays

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An essay is a paper that discusses, describes or analyzes one topic. It can discuss a subject directly or indirectly, seriously or humorously. It can describe personal opinions, or just report information. An essay can be written from any perspective, but essays are most commonly written in the first person ( I ), or third person (subjects that can be substituted with the he, she, it, or they pronouns).

There are many different kinds of essays. The following are a some of the most common ones:

Descriptive Cause/Effect Argumentative Definition Narrative Critical Compare/Contrast Process

Descriptive:

Examples: A descriptive essay could describe . . .

The descriptive essay provides details about how something looks, feels, tastes, smells, makes one feel, or sounds. It can also describe what something is, or how something happened. These essays generally use a lot of sensory details. The essay could be a list-like description that provides point by point details. Or, it could function as a story, keeping the reader interested in the plot and theme of the event described.

Definition:

Examples: A definition essay may try and define . . .

A definition essay attempts to define a specific term. It could try to pin down the meaning of a specific word, or define an abstract concept. The analysis goes deeper than a simple dictionary definition; it should attempt to explain why the term is defined as such. It could define the term directly, giving no information other than the explanation of the term. Or, it could imply the definition of the term, telling a story that requires the reader to infer the meaning.

Compare/Contrast:

Examples:A compare/contrast essay may discuss . . .

The compare/contrast essay discusses the similarities and differences between two things, people, concepts, places, etc. The essay could be an unbiased discussion, or an attempt to convince the reader of the benefits of one thing, person, or concept. It could also be written simply to entertain the reader, or to arrive at an insight into human nature. The essay could discuss both similarities and differences, or it could just focus on one or the other. A comparison essay usually discusses the similarities between two things, while the contrast essay discusses the differences.

Cause/Effect:

Examples:A cause/effect essay may explain . . .

The cause/effect essay explains why or how some event happened, and what resulted from the event.

This essay is a study of the relationship between two or more events or experiences. The essay could discuss both causes and effects, or it could simply address one or the other. A cause essay usually discusses the reasons why something happened. An effect essay discusses what happens after a specific event or circumstance.

The example below shows a cause essay, one that would explain how and why an event happened.

If this cause essay were about a volcanic eruption, it might go something like this: “Pressure and heat built up beneath the earth’s surface; the effect of this was an enormous volcanic eruption.”

The next example shows an effect essay, one that would explain all the effects that happened after a specific event, like a volcanic eruption.

If this effect essay were about a volcanic eruption again, it might go something like this:

“The eruption caused many terrible things to happen; it destroyed homes, forests, and polluted the atmosphere.”

Examples:A narrative essay could tell of . . .

The narrative essay tells a story. It can also be called a “short story.” Generally, the narrative essay is conversational in style and tells of a personal experience. It is most commonly written in the first person (uses I ). This essay could tell of a single, life-shaping event, or simply a mundane daily experience.

Examples: A process essay may explain . . .

A process essay describes how something is done. It generally explains actions that should be performed in a series. It can explain in detail how to accomplish a specific task, or it can show how an individual came to a certain personal awareness. The essay could be in the form of step-by-step instructions, or in story form, with the instructions/explanations subtly given along the way.

Argumentative:

Examples: An argumentative essay may persuade a reader that . . .

An argumentative essay is one that attempts to persuade the reader to the writer’s point of view. The writer can either be serious or funny, but always tries to convince the reader of the validity of his or her opinion. The essay may argue openly, or it may attempt to subtly persuade the reader by using irony or sarcasm.

Examples: A critical essay may analyze . . .

A critical essay analyzes the strengths, weaknesses, and methods of someone else’s work. Generally, these essays begin with a brief overview of the main points of the text, movie, or piece of art, followed by an analysis of the work’s meaning. It should then discuss how well the author/creator accomplishes his/her goals and makes his/her points. A critical essay can be written about another essay, story, book, poem, movie, or work of art.

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