english literature a level example essays aqa

A-Level English With Miss Huttlestone

A FULL MARK ‘The Handmaid’s Tale’ Essay

The following essay, penned by Heidi in year 12, captures the essence of the top band – it is developed, has true voice, and supports each ambitious idea with extensive textual evidence. Heidi’s knowledge of theorists, and her passion for debate adds enviable flair to the response .

‘The Handmaid’s Tale’ is not primarily about the suppression of women but about their defiance. To what extent to you agree?

‘The Handmaid’s Tale’ is a piece of speculative fiction about both the extensive oppression of women and their attempts to defy it, however their attempts exist in accordance with the misogyny that existed in the time before Gilead and this greatly limits the effectiveness of it. As philosopher Christopher Lasch would say, their protest is incurvatus in se or turned inward. This means that the protest throughout the narrative is lacklustre and far more about the actualisation of the self than the organised movement against total oppression. Atwood’s writing in the era of Reganism, where the rights of women were being pushed back against and thus the narrative reflects the internalised misogyny that each woman possessed via social conditioning that lowers one’s ability to protest effectively. Characters who defy do so by becoming more masculine as the culture hegemonic standard is that men are strong, and women are weak that existed long before Gilead came to be. Atwood seems to say with the lack of effective protest that the suppression of women existed before, it harmed women before, and it will continue to do so unless far greater pushback is made.

Firstly, the character of Serena Joy is created such that her defiance comes from her personal brutality and masculinisation of the self. She is a character who smokes, a recurring motif seen in all protesting characters, however smoking itself is seen as a masculine trait throughout history, with instances such as the Nazi regime totally banning smoking for women when they came to power. Further, the image of a cigarette is incredibly phallic, and the fact that this phallus is used as a semiotic representor of protest reflects the nature of such an act for women. They see no other alternative but this masculine object to use as their defiance, the social conditioning from year of demonisation of feminine power stemming long before Gilead has run so deeply into the psyche that the characters look for a phallic object to protest using. Serena, in her smoking is described by Offred by putting ‘the cigarette out, half-smoked, decisively one jab and one grind’, this imagery is violent, it is the pressing of the cigarette downwards and crushing of its end. The use of the repetition of the determiner ‘one’ creates the imagery of conclusion, she has done this action before and she is used to pushing the cigarette out, she needs no further courses of action. These traits embody the stereotypical masculine, she has decisiveness and not the stereotypical questioning femininity that has been so greatly propounded by wider society. This line also relates to Offred later recognition that she must ‘steel herself’ when partaking in the ceremony, Serena seems steely here, she seems solid, she seems in practise and almost robotic. Further, the way Serena acts is told to be opposing those in in the same social class as her and Offred goes on to say that they ways she puts out her own cigarette is different to the ‘many series of genteel taps favoured by many wives’. Not only does this quote indicate that there is protest and the taking up of black-market objects across the female hierarchy, but it separates Serena and solidifies her as a far more masculine and expectation defiant character. The other wives are dainty and adhere to gender norms that were present pre-Gilead, their actions are graceful and ladylike, they are far more the ‘Angel in the House’ than Serena seems to be. In addition to this, to tap a cigarette is to remove the ash, presumably a fully smoked one, since the Wives cannot work they are reliant on their husbands for the money to buy the black-market cigarettes, yet Serena disrespects this, her cigarette is wasted. She defies the view of ‘waste not want not’. Atwood has stated previously that there are droughts and struggles to get things into the regime, but Serena does not care, her protest here is one of apathy. She removes herself from the feminine doting stereotype who cares over all small details. The character of Serena Joy is one of two opposing sides, on the one hand she is the defiant strong masculine woman who acts aggressively and appositionally, yet her protest is about becoming a man more than it is becoming a defiant individual. She is far more preoccupied with masculinising herself to remove from the expectation of women than fostering true escape from Gilead. This makes her character one entangled with both the suppression of women and the feminine and the defiance of expectation. 

Moreover, ‘The Handmaid’s Tale’ presents the extent that misogyny invades the self through the internalisation of Gileadean and pre-Gileadean ideas of women and stereotypes. Throughout the novel, the ideas of Gilead are presented through the character Aunt Lydia, who remains a construct within the mind of Offred until the near end of the book. In turning the character in to a construction, Atwood is able to expertly show just how pervasive and condemning misogyny is to the minds of women, just how easily it finds itself inside the heads of those it infects. She uses no quotation marks around Aunt Lydia’s remarks to emphasise the degree at which it has been absorbed into each person. ‘Yours is a position of honour, she said’ is something Offred repeats in her internal narrative within the story. This idea has embedded itself in the protagonist and she speaks of how her ‘flesh arranges itself differently’ and she is less a woman and more of a ‘cloud’. Through this metaphorical imagery, the reader is shown the degree at which Gilead breaks the psyche of women. Offred is within Gilead to the point at which it ahs changed her flesh entirely and is no longer herself, no longer bodily autonomous. To include this detail, Atwood creates the impression that the ideas of the patriarchy imbed themselves so deeply within the women subjected to them that they gain the ability to almost change their existence and self-perception entirely. A feminist reader would conclude from this that the character of Offred is one afflicted with internalised misogyny, she becomes her own oppressor and the oppressor of those around her due to her social conditioning. This is backed up by the recollection of a session within the Red Centre that was reflective of the struggle sessions of Maoist China where in abuse was shouted at a central, labelled dissident – in this case Janine. She says that ‘We meant it’, the ‘it’ in reference to the psychological attacks levied against the rape victim, yet she refuses to label it such due to well-placed shame, replacing it with a mediator, replacing it with the innocent and decent sounding ‘it’, she attempts to remove herself from her own actions. In using a collective pronoun, she is implicating the entirety of the Handmaidens who were with her in this abuse, she acts as though she understands their thoughts and in many ways she likely does as they were all put through the same cycle of abuse. It also creates the idea of togetherness and sisterhood; however, this is sisterhood that has been manufactured by the state to abuse someone, it is sisterhood that exists because of women coming together to attack another. So often in the modern media, women are pitted against one another and there seems a great manipulation to make them hate each other. This sisterhood is contrived, it is there because Gilead understands that they must give these women a slight amount of togetherness, so long as it is to attack another individual. This defiance here is a reflection of the patriarchy.

Despite this internalisation, there are many instances of the creation of distinction between us and them within the narrative. Although much of what Aunt Lydia has told Offred is presented uncommented on and internalised, we are still seen some instances of the opposition to her word such as the criticism of her cherry picking of the Bible verse ‘Blessed are the meek’ and her decision to not ‘go on to say anything about inheriting the earth’. The Bible verse blessed are the meek was debated in DH Lawrence’s novel ‘The Rainbow’ wherein his defiant female Ursula character criticized the term due to the connotation it holds that you must be poor and weak to be ‘blessed’ by God. Her character believed that this term is used to satiate the poor and those in unfortunate positions. In many ways, Aunt Lydia’s statement of this term represents that, she is trying to say that the women are weak and must stay ‘meek’ to be drawn under God’s Grace, however Offred unpicks this and criticizes her use of the term in the fact it has so clearly been cherry picked for this purpose. It is meant to satiate the handmaids, lower their drive to protest and suppress them. Yet in Offred educated background she is aware that this is not the full quote and defies expectation by finishing it herself. A reader may believe that this means she sees a life outside of Gilead, that she believes she will ‘inherit the earth’, or rather there will be some form of balance restored. The use of ‘they’ within this recital also indicates a belief in a collective of Handmaids that will work to subvert the rule of Gilead, she does not talk about herself here and rather talks about a collective of the ‘meek’ who shall take over and repossess what they have been stripped of. Further, this idea of the collective ‘meek’ being together is emphasised in the idea that comes after Ofglen’s taking of Offred into the resistance. Offred thinks ‘there is an us then, there is a we’ before going onto say ‘what about them’. These three collective pronouns create the idea that there are two groups of people in Offred’s mind and that she is separate from the regime and its agents. The ‘them’ is in reference to the state actors that exist within Gilead and their violence. Offred separates herself from the violence in the recognition of a ‘them’, she is no longer a part of what has placed others on a wall, what has murdered those around her because she is able to self-actualise and join a group, to join a ‘we’, to join an ‘us’. and while this sentiment is incredible, it is short lived and just a few pages onward Offred reverts to the personal. The chapter ends with the pronoun ‘me’ in Offred joy that she was not taken away by the Eyes. This is a sad reflection that relates to the thesis that protest within Gilead is protest governed by laws of self-actualisation and not true revolutionary action. Offred creates an ‘us’, joins it, and, due to social conditioning, leaves it at the first sign of struggle.  

Finally, the way protest within the novel creates itself is in line with the concept of inward protest rather than outward revolutionary action. This is called incurvatus in se in the words of Christopher Lasch and generally forms itself in the self-actualisation over active opposition against injustice. One example of this is the stealing of a ‘withered daffodil’ from the kitchen by Offred. The daffodil is named after the Greek myth of narcissus and semiotically reflects narcissism. For Atwood to specify this flowers breed she creates the impression that what Offred is doing is to oppose standards of beauty set out by Gilead. However, a Laschian reader would take this symbol far differently. The fact that her protest is the taking of a symbol of narcissism is a reflection of the inability to protest non-narcissistically created in the 1980s during the creation of neo-liberalism. This phenomena praised the individuals actions over anything else and thus the individual saw themselves as more important than the collective group. Atwood, writing at a time where neoliberalism was being created, places her character past in the same time line as her own and thus Offred is afflicted by the same hegemonic standard. Offred exhibits much of the narcissistic tendencies that are noted by Lasch, namely the taking without much real action and what little action that does take place being to self-actualise. Her decision to take the Daffodil was arrived at because it ‘will not be missed’, this is an example of ‘meek’ defiance, and the aforementioned internalisation of such a thing. We have seen how Aunt Lydia wanted the handmaids to be ‘meek’ and Offred still acts in this way, she still internalises her message. The daffodil is ‘withered’, it is presumably about to be thrown out, it is dying. And Offred recognises this and takes it, because this protest is about self-actualising more than it is protest. 

Overall, ‘The Handmaid’s Tale’ is a novel that cannot be split into the suppression of women and their defiance. It must be viewed as a conjunction of the two; how the suppression of women harms their protest, how the protest of women changes their suppression. These two concepts exist in symbiosis, the protest of the female characters is in accordance to hegemonic weakening female stereotypes, the women are forced to internalise ideas about their own gender that are near impossible to refute. 

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Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

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• A-Level English Literature

How to Write an A-Level English Literature Essay

Writing an A-level English Literature essay is like creating a masterpiece. It’s a skill that can make a big difference in your academic adventure. 

In this article, we will explore the world of literary analysis in an easy-to-follow way. We’ll show you how to organise your thoughts, analyse texts, and make strong arguments. 

The Basics of Crafting A-Level English Literature Essays

Understanding the Assignment: Decoding Essay Prompts

Writing begins with understanding. When faced with an essay prompt, dissect it carefully. Identify keywords and phrases to grasp what’s expected. Pay attention to verbs like “analyse,” “discuss,” or “evaluate.” These guide your approach. For instance, if asked to analyse, delve into the how and why of a literary element.

Essay Structure: Building a Solid Foundation

The structure is the backbone of a great essay. Start with a clear introduction that introduces your topic and thesis. The body paragraphs should each focus on a specific aspect, supporting your thesis. Don’t forget topic sentences—they guide readers. Finally, wrap it up with a concise conclusion that reinforces your main points.

Thesis Statements: Crafting Clear and Powerful Arguments

Your thesis is your essay’s compass. Craft a brief statement conveying your main argument. It should be specific, not vague. Use it as a roadmap for your essay, ensuring every paragraph aligns with and supports it. A strong thesis sets the tone for an impactful essay, giving your reader a clear sense of what to expect.

Exploring PEDAL for Better A-Level English Essays

Going beyond PEE to PEDAL ensures a holistic approach, hitting the additional elements crucial for A-Level success. This structure delves into close analysis, explains both the device and the quote, and concludes with a contextual link. 

Below are some examples to illustrate how PEDAL can enhance your essay:

Clearly state your main idea.

Example: “In this paragraph, we explore the central theme of love in Shakespeare’s ‘Romeo and Juliet.'”

Pull relevant quotes from the text.

Example: “Citing Juliet’s line, ‘My only love sprung from my only hate,’ highlights the conflict between love and family loyalty.”

Identify a literary technique in the evidence.

Example: “Analysing the metaphor of ‘love sprung from hate,’ we unveil Shakespeare’s use of contrast to emphasise the intensity of emotions.”

Break down the meaning of the evidence.

Example: “Zooming in on the words ‘love’ and ‘hate,’ we dissect their individual meanings, emphasising the emotional complexity of the characters.”

Link to Context:

Connect your point to broader contexts.

Example: “Linking this theme to the societal norms of the Elizabethan era adds depth, revealing how Shakespeare challenges prevailing beliefs about love and family.”

Navigating the World of Literary Analysis

Breaking Down Literary Elements: Characters, Plot, and Themes

Literary analysis is about dissecting a text’s components. Characters, plot, and themes are key players. Explore how characters develop, influence the narrative, and represent broader ideas. Map out the plot’s structure—introduction, rising action, climax, and resolution. Themes, the underlying messages, offer insight into the author’s intent. Pinpointing these elements enriches your analysis.

Effective Text Analysis: Uncovering Hidden Meanings

Go beyond the surface. Effective analysis uncovers hidden layers. Consider symbolism, metaphors, and imagery. Ask questions: What does a symbol represent? How does a metaphor enhance meaning? Why was a particular image chosen? Context is crucial. Connect these literary devices to the broader narrative, revealing the author’s nuanced intentions.

Incorporating Critical Perspectives: Adding Depth to Your Essays

Elevate your analysis by considering various perspectives. Literary criticism opens new doors. Explore historical, cultural, or feminist viewpoints. Delve into how different critics interpret the text. This depth showcases a nuanced understanding, demonstrating your engagement with broader conversations in the literary realm. Incorporating these perspectives enriches your analysis, setting your essay apart.

Secrets to Compelling Essays

Structuring your ideas: creating coherent and flowing essays.

Structure is the roadmap readers follow. Start with a captivating introduction that sets the stage. Each paragraph should have a clear focus, connected by smooth transitions. Use topic sentences to guide readers through your ideas. Aim for coherence—each sentence should logically follow the previous one. This ensures your essay flows seamlessly, making it engaging and easy to follow.

Presenting Compelling Arguments: Backing Up Your Points

Compelling arguments rest on solid evidence. Support your ideas with examples from the text. Quote relevant passages to reinforce your points. Be specific—show how the evidence directly relates to your argument. Avoid generalisations. Strong arguments convince the reader of your perspective, making your essay persuasive and impactful.

The Power of Language: Writing with Clarity and Precision

Clarity is key in essay writing. Choose words carefully to convey your ideas precisely. Avoid unnecessary complexity—simple language is often more effective. Proofread to eliminate ambiguity and ensure clarity. Precision in language enhances the reader’s understanding and allows your ideas to shine. Crafting your essay with care elevates the overall quality, leaving a lasting impression.

Mastering A-level English Literature essays unlocks academic success. Armed with a solid structure, nuanced literary analysis, and compelling arguments, your essays will stand out. Transform your writing from good to exceptional. 

For personalised guidance, join Study Mind’s A-Level English Literature tutors . Elevate your understanding and excel in your literary pursuits. Enrich your learning journey today!

How long should my A-level English Literature essay be, and does word count matter?

While word count can vary, aim for quality over quantity. Typically, essays range from 1,200 to 1,500 words. Focus on expressing your ideas coherently rather than meeting a specific word count. Ensure each word contributes meaningfully to your analysis for a concise and impactful essay.

Is it acceptable to include personal opinions in my literature essay?

While it’s essential to express your viewpoint, prioritise textual evidence over personal opinions. Support your arguments with examples from the text to maintain objectivity. Balance your insights with the author’s intent, ensuring a nuanced and well-supported analysis.

Can I use quotes from literary critics in my essay, and how do I integrate them effectively?

Yes, incorporating quotes from critics can add depth. Introduce the critic’s perspective and relate it to your argument. Analyse the quote’s relevance and discuss its impact on your interpretation. This demonstrates a broader engagement with literary conversations.

How do I avoid sounding repetitive in my essay?

Vary your language and sentence structure. Instead of repeating phrases, use synonyms and explore different ways to express the same idea. Ensure each paragraph introduces new insights, contributing to the overall development of your analysis. This keeps your essay engaging and avoids monotony.

Is it necessary to memorise quotes, or can I refer to the text during exams?

While memorising key quotes is beneficial for a closed text exam, you can refer to the text during open text exams. However, it’s crucial to be selective. Memorise quotes that align with common themes and characters, allowing you to recall them quickly and use them effectively in your essay under time constraints.

How can I improve my essay writing under time pressure during exams?

Practise timed writing regularly to enhance your speed and efficiency. Prioritise planning—allocate a few minutes to outline your essay before starting. Focus on concise yet impactful analysis. Develop a systematic approach to time management to ensure each section of your essay receives adequate attention within the given timeframe.

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AQA A-Level English Literature Past Papers

This section includes recent AQA A-Level and AS English Literature A (7712 & 7711) and A-Level and AS English Literature B (7717 & 7716) past papers. If you are not sure which syllabus A (7711 & 7712) or B (7716 & 7717) you are studying ask your teacher. You can download each of the AQA A-Level English Literature past papers and marking schemes by clicking the links below.

June 2022 AQA A-Level English Literature A (7712) Past Papers

June 2022 7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper    -    Download Mark Scheme

June 2022 7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert    -    Download Past Paper    -    Download Mark Scheme

June 2022 7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert    -    Download Past Paper    -   Download Mark Scheme

June 2022 AQA A-Level English Literature B (7717) Past Papers

June 2022 7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

June 2022 7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

June 2022 7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper    -    Download Mark Scheme

June 2022 7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper    -    Download Mark Scheme

November 2021 AQA A-Level English Literature A (7712) Past Papers (Labelled as June 2021)

November 2021 7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper    -    Download Mark Scheme

November 2021 7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert    -    Download Past Paper    -    Download Mark Scheme

November 2021 7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert    -    Download Past Paper    -   Download Mark Scheme

November 2021 AQA A-Level English Literature B (7717) Past Papers  (Labelled as June 2021)

November 2021 7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

November 2021 7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

November 2021 7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper    -    Download Mark Scheme

November 2021 7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper    -    Download Mark Scheme

November 2020 AQA A-Level English Literature A (7712) Past Papers (Labelled as June 2020)

November 2020 7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper    -    Download Mark Scheme

November 2020 7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert    -    Download Past Paper    -    Download Mark Scheme

November 2020 7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert    -    Download Past Paper    -   Download Mark Scheme

November 2020 AQA AS-Level English Literature A (7711) Past Papers  (Labelled as June 2020)

November 2020 7711/1 AS Paper 1: Love Through the Ages: Shakespeare and Poetry Download Past Paper    -    Download Mark Scheme

November 2020 7711/2 AS Paper 2: Love Through the Ages: Prose Download Past Paper    -    Download Mark Scheme

November 2020 AQA A-Level English Literature B (7717) Past Papers  (Labelled as June 2020)

November 2020 7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

November 2020 7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

November 2020 7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper    -    Download Mark Scheme

November 2020 7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper    -    Download Mark Scheme

November 2020 AQA AS-Level English Literature B (7716) Past Papers  (Labelled as June 2020)

November 2020 7716/1A AS Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

November 2020 7716/1B AS Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

June 2019 AQA A-Level English Literature A (7712) Past Papers

June 2019 7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper    -    Download Mark Scheme

June 2019 7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert    -    Download Past Paper    -    Download Mark Scheme

June 2019 7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert    -    Download Past Paper    -   Download Mark Scheme

June 2019 AQA AS-Level English Literature A (7711) Past Papers

June 2019 7711/1 AS Paper 1: Love Through the Ages: Shakespeare and Poetry Download Past Paper    -    Download Mark Scheme

June 2019 7711/2 AS Paper 2: Love Through the Ages: Prose Download Past Paper    -    Download Mark Scheme

June 2019 AQA A-Level English Literature B (7717) Past Papers

June 2019 7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

June 2019 7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

June 2019 7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper    -    Download Mark Scheme

June 2019 7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper    -    Download Mark Scheme

June 2019 AQA AS-Level English Literature B (7716) Past Papers

June 2019 7716/1A AS Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

June 2019 7716/1B AS Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

June 2019 7716/2A AS Paper 2A: Literary Genres: Prose and Poetry: Aspects of Tragedy Download Past Paper    -    Download Mark Scheme

June 2019 7716/2B AS Paper 2B: Literary Genres: Prose and Poetry: Aspects of Comedy Download Past Paper    -    Download Mark Scheme

June 2018 AQA A-Level English Literature A (7712) Past Papers

June 2018 7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper  -  Download Mark Scheme

June 2018 7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert -  Download Past Paper  -  Download Mark Scheme

June 2018 7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert -  Download Past Paper  -  Download Mark Scheme

June 2018 AQA AS-Level English Literature A (7711) Past Papers

June 2018 7711/1 AS Paper 1: Love Through the Ages: Shakespeare and Poetry Download Past Paper  -  Download Mark Scheme

June 2018 7711/2 AS Paper 2: Love Through the Ages: Prose Download Past Paper  -  Download Mark Scheme

June 2018 AQA A-Level English Literature B (7717) Past Papers

June 2018 7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper  -  Download Mark Scheme

June 2018 7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy Download Past Paper  -  Download Mark Scheme

June 2018 7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper  -  Download Mark Scheme

June 2018 7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper  -  Download Mark Scheme

June 2018 AQA AS-Level English Literature B (7716) Past Papers

June 2018 7716/1A AS Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper  -  Download Mark Scheme

June 2018 7716/1B AS Paper 1B: Literary Genres: Drama: Aspects of Comedy   Download Past Paper  -  Download Mark Scheme

June 2018 7716/2A AS Paper 2A: Literary Genres: Prose and Poetry: Aspects of Tragedy Download Past Paper  -  Download Mark Scheme

June 2018 7716/2B AS Paper 2B: Literary Genres: Prose and Poetry: Aspects of Comedy Download Past Paper  -  Download Mark Scheme

AQA A-Level English Literature Past Papers June 2017

Specification A (7711 & 7712)

7711/1 AS Paper 1: Love Through the Ages: Shakespeare and Poetry - Download Past Paper  -  Download Mark Scheme

7711/2 AS Paper 2: Love Through the Ages: Prose - Download Past Paper  -  Download Mark Scheme

7712/1 A- Level Paper 1: Love Through the Ages - Download Past Paper   -  Download Mark Scheme

7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Insert -  Download Past Paper  -  Download Mark Scheme

7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Insert -  Download Past Paper  -  Download Mark Scheme

Specification B (7716 & 7717)

7716/1A AS Paper 1A: Literary Genres: Drama: Aspects of Tragedy -  Download Past Paper  -  Download Mark Scheme

7716/1B AS Paper 1B: Literary Genres: Drama: Aspects of Comedy -  Download Past Paper  -  Download Mark Scheme

7716/2A AS Paper 2A: Literary Genres: Prose and Poetry: Aspects of Tragedy -  Download Past Paper  -  Download Mark Scheme

7716/2B AS Paper 2B: Literary Genres: Prose and Poetry: Aspects of Comedy -  Download Past Paper  -  Download Mark Scheme

7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy -  Download Past Paper  -  Download Mark Scheme

7717/1B A-Level Paper 1B: Literary Genres: Drama: Aspects of Comedy -  Download Past Paper  -  Download Mark Scheme

7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing -  Download Past Paper  -  Download Mark Scheme

7717/2B A-Level Paper 2B: Texts and Genres: Elements of Political and Social Protest Writing Download Past Paper  -  Download Mark Scheme

AQA A-Level English Literature A (7712) Specimen Papers

7712/1 A- Level Paper 1: Love Through the Ages Download Past Paper  -  Download Mark Scheme

7712/2A A- Level Paper 2A: Texts in shared contexts: WW1 and its aftermath Download Past Paper  -  Download Mark Scheme

7712/2B A- Level Paper 2B: Texts in shared contexts: Modern Times: Literature from 1945 to the present day Download Past Paper  -  Download Mark Scheme

AQA A-Level English Literature B (7717) Specimen Papers

7717/1A A-Level Paper 1A: Literary Genres: Drama: Aspects of Tragedy Download Past Paper  -  Download Mark Scheme

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7717/2A A-Level Paper 2A: Texts and Genres: Elements of Crime Writing Download Past Paper  -  Download Mark Scheme

A-Level AQA English Language and Literature past papers (7706 and 7707) can be found on the English Language section

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Notes || Exam Prep || Character Profiles || Themes || Additional Reading & Videos

This text is included in  Paper 1 . You can find notes and guides for it below.

• Literary Form

Additional Reading & Videos:

• Essay: Homosocial Desire and its Conversion to Homosexual Desire
• Essay: The Symbolic Significance of Desdemona’s Handkerchief
• Essay: Men, Women and War: An Examination of Gender Conflicts within Othello
• Thesis: Courtship, Love, and Marriage in Othello: Shakespeare’s Mockery of Courtly Love
• Essay: Too Gentle: Jealousy and Class in Othello
• Video: Racism in Othello
• Video: The Question of Race in Othello
• Film: Othello (modern-day adaptation, dir. Geoffrey Sax 2001)
• Film: Othello (filmed theatrical production, 1965)

Character Profiles

• Proximity and Distance
• Truth and Deception

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A* A level English Literature Essay Examples

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Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

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A Christmas Carol: Overview ( AQA GCSE English Literature )

Revision note.

English Senior Content Creator

A Christmas Carol: Overview

As part of Paper 1, Section B you will study one 19th-century novel and write one response to one set question in your paper. The question will include an extract from your studied text but it is a closed-book exam, which means you will not have access to a copy of the text in your exam. There are two Dickens novels that you could study for the exam:

A Christmas Carol

Great Expectations

This page contains some helpful information, and links to more detailed revision note pages, that will enable you to aim for the highest grade when studying A Christmas Carol. This page includes:

Who was Charles Dickens?

A Christmas Carol summary

A brief overview of what is required in the exam

A Christmas Carol characters

A Christmas Carol context

A Christmas Carol themes

A Christmas Carol quotes

Top tips for the highest grade

Charles Dickens was a 19th-century novelist and he is regarded as one of the most famous British authors of all time. Dickens was born in Portsmouth, England on February 7, 1812 and died on June 9, 1870. He is buried in the Poets' Corner of Westminster Abbey despite his request to be buried in Rochester Cathedral. 

Dickens was the author of 15 novels, 5 novellas and hundreds of stories and essays. He also edited a weekly journal for 20 years. He is particularly renowned for his stark portraits of poverty and the suffering of the masses in Victorian London during the Industrial Revolution. His work clearly demonstrates his consciousness of and commitment to social justice and his writing mixed social criticism with animated representations of characters using both humour and satire. While many of his works can be seen to contain idealised characters, Dickens uses them to underscore the terrible living and working conditions endured by so much of the population during this period. 

A Christmas Carol is a novella written by Charles Dickens and first published on 19th December, 1843. The novella’s full title is: ‘A Christmas Carol. In Prose. Being a Ghost Story of Christmas’. In the Preface, Dickens declares: ‘I have endeavoured in this Ghostly little book, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no one wish to lay it’. 

A Christmas Carol is a novella composed of five staves (chapters) and it is set in mid-19th-century London. It narrates the story of Ebenezer Scrooge, an elderly miser, who is visited by the ghost of his former business partner Jacob Marley and three spirits: the spirit of Christmas Past, Christmas Present and Christmas Yet to Come. Through their valuable lessons, the spirits enable Scrooge to be transformed into a charitable philanthropist. His journey of transformation from a cruel miser to a benevolent and kind man conveys Dickens’s message that everyone has the ability to show compassion and kindness to others, regardless of their social position.

Like many of Dickens’s other works, A Christmas Carol was written as a piece of social commentary. It is an allegorical tale of redemption written in response to the appalling social conditions of Victorian England. It is an exploration of the themes of poverty, family, transformation and redemption. For a more detailed summary, please see A Christmas Carol: Plot Summary page.

How is A Christmas Carol assessed in the exam?

Your GCSE Paper 1 requires you to answer two questions in 1hr 45min. That means you have approximately 52 minutes to plan, write and check your essay

Paper 1 is worth 64 marks and accounts for 40% of your overall GCSE grade

Your essay is worth 30 marks in total

Section B of Paper 1 contains the question and you are required to answer the one available question on the novella

Your question will also include a printed extract of about 35 lines from the novella

It is a closed-book exam, which means you will not have access to a copy of the text (other than the printed extract) in your exam

You will be asked a question that asks you to analyse and write in detail about an aspect of A Christmas Carol

Your answer will need to address both the extract from the novella that you will be given, and the novella as a whole

For a much more detailed guide on answering the A Christmas Carol question, please see our revision notes on How to Answer the 19th-Century Novel Essay Question .

The characters you should focus on when revising A Christmas Carol are:

Jacob Marley

Ebenezer Scrooge

Bob Cratchit

Ghost of Christmas Past

Ghost of Christmas Present

Ghost of Christmas Yet to Come

There are also other minor characters in A Christmas Carol who contribute to Scrooge’s transformation and it is important to understand their role in the novella. For example: Tiny Tim, Fred, Fan, Fezziwig, Belle, Ignorance and Want.

It is always vital to remember - when considering a Dickens novella, or any text - that characters are deliberate constructions created by a writer for a purpose. These characters often represent ideas, or belief systems, and a writer, like Dickens, uses these characters to explore these ideas and beliefs through them. For more details on how Dickens uses his characters in A Christmas Carol, please see the A Christmas Carol: Characters revision notes page.

There are a maximum of six marks available in the 19th-century novel question for context. It is important that you understand what context means as examiners understand context not as historical information, or biographical facts about a writer, but as the ideas and perspectives explored by a writer through their text. Therefore, for the context of A Christmas Carol you should not write about random, irrelevant information about London in the 1840s, or biographical information about Dickens, but ideas about:

Family and Relationships

Transformation and Redemption

Death and Loss

Crucially, context is about how the above ideas and perspectives give us a better understanding of the author’s intentions, or messages. Many of these ideas and perspectives are universal, so your own opinions of them are valid, and will be rewarded in an exam. For a detailed breakdown of the contextual topics listed above, see the A Christmas Carol: Context page.

Exam responses that are led by ideas are more likely to reach the highest levels of the mark scheme. Exploring the ideas of A Christmas Carol, specifically in relation to the question being asked, will help to increase your fluency and assurance in writing about the text.

Understanding the themes that Dickens explores in A Christmas Carol is one of the best approaches any student can take when revising the novella. This is because to get the highest mark on your exam, you need to take what examiners call a “conceptualised approach”: a detailed and perceptive exploration of Dickens’s ideas and intentions. The main themes explored by Dickens in A Christmas Carol are:

There are many more themes than just those listed above that are explored by Dickens in A Christmas Carol, and you are encouraged to consider these too. However, the above list makes a great place to start, and detailed breakdowns of each of these themes can be found on our A Christmas Carol: Themes page.

The assessment objectives state that you should be able to “use textual references, including quotations”. This means summarising, paraphrasing, referencing single words and referencing plot events are all as valid as quotations in demonstrating that you understand the text. It is important that you remember that you can evidence your knowledge of the text in these two equally valid ways: both through references to it and direct quotations from it. If you are going to revise quotations, the best way is to group them by character, or theme. We have already identified some quotations that you may wish to review in preparation for your exam. For a detailed analysis of each of these quotations, see our A Christmas Carol: Key Quotations page.

Please see our revision pages on the 19th-century texts for guides on:

Structuring A Christmas Carol essay

A Christmas Carol methods and techniques

How to include context in A Christmas Carol essay

Understanding A Christmas Carol mark scheme

A Christmas Carol model answer

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Author: Nick Redgrove

Nick is a graduate of the University of Cambridge and King’s College London. He started his career in journalism and publishing, working as an editor on a political magazine and a number of books, before training as an English teacher. After nearly 10 years working in London schools, where he held leadership positions in English departments and within a Sixth Form, he moved on to become an examiner and education consultant. With more than a decade of experience as a tutor, Nick specialises in English, but has also taught Politics, Classical Civilisation and Religious Studies.

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AQA A-level English Literature A: The Great Gatsby and Love Anthology Exemplar Essays

Subject: English

Age range: 16+

Resource type: Assessment and revision

Last updated

24 April 2023

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AQA English Literature A-level; Specification A (7711, 7712). Love through the ages; comparative set texts (Great Gatsby and Love poetry pre-1900)

Includes example essays and teacher-assessed marks (all Band 5, 21-22/25)

• Compare how the authors of two texts you have studied present ideas about unrequited love
• Compare how the writers of two texts you have studied present ideas about immorality in love
• Compare how the writers of two texts you have studied present ideas about truth and deception in love
• Compare how the authors of two texts you have studied present ideas about romantic commitment
• Compare how the writers of two texts you have studied present ideas about conflict within relationships
• (Cross-poetry analysis) Compare how the authors of two texts you have studied present ideas about loss of love

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