Task 2: How To Get Full Marks (OCR A Level English Literature)

Revision Note

Task 2: How To Get Full Marks

Regardless of which texts you choose, the type of question set for the comparative essay task should always prompt you to compare or contrast how the writers present a key concern in their texts.

It is tempting to jump straight in and start writing immediately. However, following this guide will ensure you answer the question in the way the examiners are looking for.

Below you will find sections on:

What skills are required

This task for the NEA is unusual as there is no dominant Assessment Objective. All five objectives are assessed and are equally weighted. For a detailed exploration of the skills required for AO1 (presenting a response) and AO2 (critical analysis), please see our notes on How To Get Full Marks in Task 1.

The following sections explore the other skills you will need to demonstrate mastery of in more detail:

Incorporating context (AO3)

It is important to remember that incorporating context does not mean memorising large chunks of historical material and reproducing this in your answer. Instead, contextual exploration must be woven into your comparative analysis in an integrated manner, and must always be linked to both the texts and the focus of the question. “Context” can be understood in a variety of ways.

Examiner Tip

It is a good idea to start your answer by giving the examiner a working definition of the key focus in the question. This means demonstrating to the examiner that you understand what the key focus means. For example, if the proposition asks you to compare the presentation of immoral behaviour, then start your response by demonstrating to the examiner that you understand what immoral behaviour means in the context of both texts.

You should also set out from the start which texts you are going to use for your comparison and your position in relation to the proposition.

Literary context

Depending on your chosen texts, you may wish to consider conventions “typical” to that type of text, but again with the caveat that concentrating on a pre-prepared list of “features” typical to the genre will not gain extra credit unless you remain specifically focused on the question.

For example, here are some typical genre features and contextual considerations for the following forms of text. This list is by no means exhaustive:

Epic Poem (poetry)

Genre feature

Contextual considerations

Elevated style

  • Epics generally have еlеvatеd, formal languagе 

  • For example, in Paradise Lost, Milton's usе of grand, poеtic languagе contributes to its еpic tonе

Heroic theme

  • Epics oftеn еxplorе hеroic thеmеs such as thе strugglе bеtwееn good and еvil, thе consеquеncеs of disobеdiеncе and thе naturе of human frее will

  • For example, in Beowulf, the hero comes to the aid of the king of the Danes who is under attack by the monster Grendel

Episodic structure

  • Epics frеquеntly havе an еpisodic structurе, fеaturing a sеriеs of advеnturеs or challеngеs facеd by thе hеro

  • The hero has to overcome one trial after another, each presented as if it were a separate story within the greater quest

Moral and ethical aspects

  • Epics oftеn convеy moral, еthical or philosophical lеssons

  • For example, through the characters of Beowulf and Wiglaf, the poem Beowulf explores three important morals of its time: bravery, honour and loyalty

Tragedy (drama)

Genre feature

Contextual considerations

Tragic hero

  • Thе protagonist, oftеn of noblе staturе, possеssеs a fatal flaw that lеads to thеir downfall

  • For example, in The Duchess of Malfi, the Duchess’s dеfiancе of social norms and hеr sеcrеt marriagе to Antonio contributе to hеr tragic fatе

Conflict

  • Tragedies typically involvе a cеntral conflict, which is usually bеtwееn thе protagonist and antagonist

  • For example, in Julius Caesar, Brutus must deal with a conflict of loyalty, whilst in Othello, a conflict of jealousy destroys a relationship

Catharsis

  • Tragedies tend to еvokе fееlings of pity and fеar in thе audiеncе, which allows thеm to еxpеriеncе catharsis

  • For example, in Macbeth, the central character is overcome by ambition and ends up losing his integrity, his wife and, eventually, his life

Hubris

  • Tragic hеroеs oftеn display hubris, which leads them to ignorе warnings or advicе

  • For example, in Oedipus Rex, Oedipus tries to defy his destiny from the gods, but eventually he realises that he can never escape his fate and does exactly what he was warned against  

Comedic play (drama)

Genre feature

Contextual considerations

Humour and wit

  • Comedic plays have witty dialoguе and humorous situations

  • For example, in She Stoops to Conquer, thе charactеrs' misundеrstandings and witty еxchangеs contributе to thе play's comеdic elements

Happy resolution

  • Classic comеdiеs typically concludе with a happy rеsolution, whеrе conflicts arе rеsolvеd and the charactеrs find lovе

  • For example, in All’s Well That Ends Well, every dilemma, problem or difficulty finds a happy resolution: the main characters are married and the misunderstandings are resolved

Mistaken identities

  • Mistakеn idеntitiеs and misundеrstandings arе evident and add to thе comеdic chaos

  • For example, in The Comedy of Errors, the comedy arises from a series of mistaken identities introduced via the use of two sets of twins

Epistolary novel (prose)

Genre feature

Contextual considerations

Plot that is either partially or completely comprised of correspondence

  • This correspondence is usually in the form of letters

  • But may also include diary entries and newspaper clippings

  • More recent novels may include electronic documents, recordings and radio

  • For example, Bram Stoker’s Dracula uses not only letters and diary entries, but also dictation cylinders and newspaper accounts

Offers different narrative perspectives

  • Often written in the first person, but different protagonists “become” the narrator

  • This makes it possible to investigate multiple points of view, especially about the same incident or circumstance

  • For example, The Color Purple by Alice Walker is written in the form of letters between the two central characters, Celie and Nettie, enabling exploration of their distinctive viewpoints about their common experiences

  • However, this does also result in unreliable narrators, meaning that the reader does not always get the whole picture

Relationships

  • The form can evoke a sense of closeness between characters

  • It allows characters to speak honestly and freely

Identity and self-discovery

  • Because characters frequently share their most private thoughts and emotions in their letters or correspondence, this genre allows the exploration of issues of identity and self-discovery

  • For example, Frankenstein by Mary Shelley uses first-person narration in the form of personal papers

Social, political and historical contexts

When considering the social, political and historical context of a text you might consider:

  • The political context in which it was produced

  • The social context in which it was produced

  • The ways in which the text would have been transmitted, performed or read

  • The biographical circumstances of the writer

  • Attitudes of readers or audiences at the time of first production

AO3 asks you to consider and explore the contexts in which literary texts are written and understood. You might therefore find the following questions useful to consider:

When was the text written?

Where and when is the setting of the text?

What problems (social/economic/political) can you see in the text and do these reflect any social, political or economic problems or issues at the time and place of writing?

Who has the power in this text? What social issues does this represent?

How might the date of publication relate to events in the text or its setting?

What social issues are presented in the passage? How does the author engage with gender, race and/or class?

What are the gender dynamics in the passage? Do these reflect anything about the time of writing? Has anything changed?

How was the text received at the time of publication versus how is it received today?

Have attitudes towards the text changed over time?

Context also applies to criticism. As you read criticism of your texts, you need to understand the context of criticism, since each critic is from their own era and is influenced by assumptions and attitudes of that era. Each of these critics has to be viewed as being influenced by a range of contexts, changing philosophical/intellectual attitudes, and changing methods of transmission (such as conventions of theatrical performance, or ways of writing/printing or producing texts).

Making comparisons (AO4)

AO4 requires an integrated comparative analysis of the relationships between texts. This means that you are required to explore contrasts, connections and comparisons between your different literary texts, including the ways in which the texts relate both to one another and to literary traditions, movements and genres. The best responses pick up on the prompt words within the task and then select material accordingly. In this way, by sustaining a coherent, question-focused argument throughout, comparison becomes a technique through which the texts can be used to shed light on each other, both in terms of similarities and differences.

The example below shows how you might begin to approach comparing A Streetcar Named Desire by Tennessee Williams and Tender Is The Night by F. Scott Fitzgerald, based on the following task:

Proposition

Compare the ways in which Williams and Fitzgerald present personal trauma and mental illness in A Streetcar Named Desire and Tender Is The Night

Similarities and differences

A Streetcar Named Desire

Tender Is The Night

  • Williams portrays mental illness and personal trauma as something to be masked and concealed

  • The character of Nicole Diver is presented as an “eccentric”

  • Williams uses the symbolic motif of “light” and Blanche’s refusal to be seen in her natural state to create an illusion that distances her external appearance from her inner personal trauma  

  • Fitzgerald exposes the division between the mentally ill and the mentally sound, underscoring the stigma associated with mental illness

  • Blanche uses lies in order to present a mentally stable outward appearance

  • Fitzgerald also uses flashback to Dick Diver’s experiences as a young doctor and meeting Nicole for the first time as a patient, exploring the idea that the mentally unstable can be “fixed”

  • Williams explores the idea of America in the late 1940s thriving on the concept of a stronger and reborn country in the wake of war – this type of society had no place for the mentally ill who couldn’t contribute

  • Eventually, however, the doctor/mental patient relationship is reversed, with Dick’s descent into alcoholism

 

  • Blanche takes refuge in her inner world of fantasy as a way of hiding her trauma in order to be accepted in society, but Stanley exposes her deception

  • Fitzgerald exposes the difficulty in differentiating between “normal” and “abnormal” states of mind, and also explores the stigma and labelling of mental illness 

Interpretations (AO5)

An exploration of different interpretations should always be woven into your comparison, never set apart from it or added as an after-thought. Different interpretations could include:

  • Reference to recognised critics

  • Different theatrical interpretations of drama (in which you discuss different directors’ presentations or different actors’ portrayals)

  • Exploring a text in relation to concepts of the genre (such as tragedy)

  • Developing a theoretical approach to the study of the text (feminist, Marxist, etc.)

  • Different interpretations of texts produced through rewriting or television/film adaptations

You can also develop your argument by linking your points:

  • Think of a point of comparison between your texts

  • Next, come up with a personal and creative response to the comparison

  • Then inform or support your response with different interpretations (AO5)

Examiner Tip

O5 is often the most limited in candidate responses. To achieve a confident response, it is important that you are able to challenge different views of texts, or balance different readings against each other, in order to explore their implications in relation to the focus of the task. Alternatively, you might select your own range of references from the text that support a critic’s view, and then develop it. For example, you might use a critic’s comment on a writer as the foundation for your discussion, and then back this up with an exploration of a film or theatrical adaptation. These approaches are much more successful than just inserting a quotation from a critic, especially at the end of a paragraph as a substitute for argument.

Steps for success

To do well in this task, you need to be extremely familiar and confident with both of the texts, and have done your research thoroughly in preparation for your essay. Completing the steps below first will ensure you complete this task in the way that examiners are looking for:

  • Do your research:

    • OCR have an online Text and Task tool that students are able to use in the research stage of the NEA

    • It can be useful to see what other candidates have written about in order to help you formulate your own work

    • Your teacher is able to make amendments or additions to any text or task submission until the deadline of 31st January (in the year of examination)

  • Decide on which two texts you are going to compare and collaborate with your teacher on the wording of the task:

    • This may be dictated by your centre, although the exam board do encourage independence and creativity in your choice of text

    • The task should be kept simple, but should clearly set out what is expected, focusing on the “writing” of the texts

  • Plan and draft your response:

    • Give yourself plenty of time for this

    • Do not leave this until the last minute and without any time for amendments or improvements

    • Begin your essay with an initial overview of the texts related directly to the task, indicating the reasons for comparison

    • Include a brief reference to relevant contexts

    • Note down the relevant points of comparison you will be making and the different interpretations you will be exploring – these should become your paragraph topic sentences

    • Demonstrate your understanding of the texts through the careful selection of key references and quotations

    • Balance your paragraphs between the two texts

    • Challenge different views of the texts, or balance different readings against each other, in order to explore implications

    • Take time to carefully proofread and refine your work

  • Re-read, refine and improve:

    • Use feedback to make changes and improve the strength of your response

  • Re-read and check your work for overall sense and accuracy before final submission (AO1)

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