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Four Main Types of Literary Essay

You will be asked to write essays in most literature classes (not forgetting exams). Writing essay is a form method to express your understanding of the prescribed text and there are four common types of literary essays that you might explore.

(Content is slightly edited and simplified for easier understanding from: http://www.uvm.edu/wid/writingcenter/tutortips/engstypes.html#top)

1. Comparative/Synergistic

• A comparative essay is one in which you are called on to draw out similarities (sometimes also contrasts) between two or more elements. Most often, this will be between texts that have been covered in class, but it could also be between authors, genres, literary periods, or even between specific passages or characters in the same text.
• The goal here is to make connections and draw conclusions based on your comparisons (i.e. you must have a thesis about whatever you are comparing that is based on looking at them together.
• It is not enough to just compare and simply describe the similarities (and/or differences)—your thesis is what really matters. That argument will be the product of your comparison and will answer the broader question of “why is it important that these texts (authors, periods) be read together/studied closely against one another?” What can we learn from these similarities or differences? How do they help us understand the text(s) more fully?
• Your particular assignment might be open to you (i.e. you can choose to compare any element of the text and craft an argument around that comparison), or  compare/contrast very specific elements (the argument around those elements is still up to you to craft).
• Note that this assignment directly cautions against straight comparing or contrasting (i.e. simply figuring out the similarities/differences and stopping there). It asks for you to demonstrate dialogue of some sort between texts—i.e. using two texts to craft an argument that is only possible if we read them together (implying that there are things about each that are inherently similar or different and that this has important meaning, which you will argue with the thesis you craft). Your goal is to create a synergy between the texts, leading to an argument about how they work together.

2. Historical/Contextual

• An analysis that focuses on the context of the text, or that views the text within its larger historical or socio-cultural framework will often call not only for close reading of the text, but it may also require some additional research that will be used to help craft and support your argument 
• The context is not the primary focus, but rather how the context affects your reading of the text and how the text is affected by its context.
• Remember that the key here is to use your research on the historical and social context of the text to describe on how the text and its context are related. This is not a history paper. 

3. Theoretical

• A paper geared towards explicitly learning and/or practicing literary theory could take many forms: applying a particular theoretical lens to a text, comparing and contrasting two different theories, an intense study of one particular theory, and so on.
• This kind of paper is designed to give you practice at studying texts using different theoretical lenses.

4. Applied

• You will be asked to use a text in a somewhat less formal kind of analysis (though no less critical). This could be called a kind of applied essay and might ask you to use a text to explore certain kinds of issues and your own, personal relation to them.
• An example of this kind of essay might ask you to explore issues of race or gender, identity, and your own experiences by using the text(s) read in class. Maybe it asks you to analyze a current event that echoes some of the important concepts brought up by a particular text that you have read in class.
• Depending on the assignment, the applied essay could also be any of the kinds of essays described above.
• The goal of the assignment is still to engage with and analyze the text as well as demonstrate an understanding of the text in light of the themes of the class.

Read more at:
http://www.uvm.edu/wid/writingcenter/tutortips/engstypes.html

920/3 Novels STPM 2013

SECTION A : Critical Appreciation

(25 marks)

Answer only one question from this section.

 1     

JANE AUSTEN: Pride and Pejudice

    'My dear Mr. Bennet,' said his lady to him one day, 'have you heard that Netherfield Park is let at last?'

Mr. Bennet replied that he had not.

     'But it is,' returned she; 'for Mrs. Long has just been here, and she told me all about it.'

Mr. Bennet made no answer.

     'Do not you want to know who has taken it?' cried his wife impatiently.

     'You want to tell me, and I have no objection to hearing it.'

This was invitation enough.

     'Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.'

     'What is his name?'

     'Bingley.'

. . . . .

     'Mr Bennet, how can you abuse your own children in such way? You take delight in vexing me. You have no compassion on my poor nerves.'

     'You mistkae me, my dear. I have high respect for your nerves. They are my old friends. I have heard you mention them with consideration these twenty years at least.'

     'Ah! you do not know what I suffer.'

Discuss the use of dialogue in this excerpt.

Or

2   

AMY TAN: The Joy Luck Club

     As I remember it, the dark side of my mother sprang from the basement in our old house in Oakland. I was five and my mother tried to hide it from me She barricaded the door with a wooden chair, secured it with a chain and two types of key locks. And it became so mysterious that I spent all my energies unraveling this door, until the day I was finally able to pry it open with my small fingers, only to immediately fall headlong into the dark chasm. And it was only after I stopped screaming - I had seen the blood of my nose on my mother's shoulder - only then did my mother tell me about the bad man who lived there for thousands of years, she said, and was so evil and hungry that had my mother not rescued me so quickly, this bad man would have planted five babies in me and then eaten us all in a six-course meal, tossing our bones on the dirty floor.

. . . . . 

     I have a photo of my mother with this same scared look. My father said the picture was taken when Ma was first released from Angel Island Immigration Station. She stayed there for three weeks, until they could process her papers and determine whether she was a War Bride, a Displaced Person, a Student, or the wife of a Chinese-American citizen. My father said they didn't have rules for dealing with the Chinese wife of a Caucasian citizen. Somehow, in the end, they declared her a Displaced Person, lost in a sea of immigration categories.

Examine how the narrator perceives her identity in this extract.

Section B: JANE AUSTEN: Pride and Prejudice

(25 marks)

Answer the question below.

3 Examine Jane Austen's use of irony in Pride and Prejudice.

Section C: AMY TAN: The Joy Luck Club

(25 marks)

Answer the question below.

4 Examine the narrative structure used by Amy Tan in The Joy Luck Club. Why is it significant?

© Majlis Peperiksaan Malaysia 2013

920/2 Plays STPM 2013

SECTION A : Critical Appreciation

(25 marks)

Answer only one question from this section.

 1     

SHAKESPEARE: Twelfth Night

Maria	.. here comes my lady: make your excuse wisely, you were best. [Exit]
	Enter Lady OLIVIA [attended,] with MALVOLIO
Feste	Wit, and’t be thy will, put me into good fooling! Those wits that think they have thee do very oft prove fools, and I that am sure I lack thee may pass for a wise man. For what says Quinapalus? “Better a witty fool than a foolish wit’ – God bless thee, lady.
Olivia	Take the fool away.
Feste	Do you not hear, fellows? Take away the lady.
Olivia	Go to, y’are a dry fool: I’ll no more of you; besides, you grow dishonest.
Feste	Two faults, Madonna, that drink and good counsel will amend: for give the dry fool drink, then is the fool not dry; bid the dishonest, if he cannot, let the botcher mend him. Anything that’s mended is but patched: virtue that transgresses is but patched with sin, and sin that amends is but patched with virtue. If that this simple syllogism will serve, so; if it will not, what remedy? As there is no true cuckold but calamity, so beauty’s a flower. The lady bade take away the fool; therefore I say again, take her away.
Olivia	Sir, I bade them take away you.
Feste	Misprison is the highest degree! Lady, cucullus non facit monachum: that’s as much to say as I wear not motley in my brain. Good madonna, give me leave to prove you a fool.
Olivia	Can you do it?
Feste	Dexteriously, good madonna.
Olivia	Make your proof.
Feste	I must catechise you for it, madonna. Good my mouse of virtue, answer me.
Olivia	Well, sir, for want of other idleness, I’ll bide your proof.
Feste	Good madonna, why mourn’st thou?
Olivia	Good fool, for my brother’s death.
Feste	I think his soul is in hell, madonna.
Olivia	I know his soul is in heaven, fool.
Feste	The more fool, madonna, to mourn for your brother’s soul being in heaven. Take away the fool, gentlemen.
Olivia	What think of you this fool, Malvolio? Doth he not mend?
Malvolio	Yes, and shall do, till the pangs of death shake him; infirmity, that decays the wise, doth ever make the better fool.
Feste	God send you, sir, a speedy infirmity, for the better increasing your folly!...
	Twelfth Night Act 1 Scene V

Analyse how Feste, Lady Olivia's jester (or 'fool'), provides entertainment as well as criticism in this passage, and how Olivia and Malvolio respond to him. 

Or

2   

LORRAINE HANSBERRY: A Raisin in the Sun

RUTH (studying her mother-in-law furtively and concentrating on her ironing, anxious to encourage without seeming to): Well, Lord knows, we’ve put enough rent into this here rat trap to pay for four houses by now …

MAMA (looking up at the words “rat trap” and then looking around and leaning back and sighing – in a suddenly reflective mood - ): “Rat trap” – yes, that’s all it is. (Smiling) I remember just as well the day me and Big Walter moved in here. Hadn’t been married but two weeks and wasn’t planning on living here no more than a year. (She shakes her head at the dissolved dream) We was going to set away, little by little, don’t you know, and buya little place out in Morgan Park. We had even picked out the house (Chuckling a little Looks right dumpy today. But Lord, child, you should know all the dreams I had ‘bout buying that house and fixing it up and making me a little garden in the back – (She waits and stops smiling) And didn’t none of it happen.

(Dropping her hands in a futile gesture)

…

MAMA: I guess that’s how come that man finally worked himself to death likehe done. Like he was fighting his own war with this here world that took his baby from him. […] Crazy ‘bout his children! God knows there was plenty wrong with Walter Younger – hard-headed, mean, kind of wild with women – plenty wrong with him. But he sure loved his children. Always wanted them to have something – be something. That’s where Brother gets all these notions, I reckon. Big Walter used to say, he’d get right wet in the eyes sometimes, lean his head back with the water standing in his eyes and say, “Seem like God didn’t see fit to give the back man nothing but dreams- but He did give us children to make them dreams seems worth while.” (She smiles) He could talk like that, don’t you know.

How does this passage reflect the idea of a dream deferred?

Section B: SHAKESPEARE: Twelfth Night

(25 marks)

Answer the question below.

3 What effects does Viola have on Duke Orsino and Countess Olivia? Discuss with close reference to the play.

Section C: LORRAINE HANSBERRY: A Raisin in the Sun

(25 marks)

Answer the question below.

4 Discuss the different responses to money of the major characters in this play.

© Majlis Peperiksaan Malaysia 2012

Literature Essay Marking Scheme

Many of you candidates do not understand how the marking system goes, so here it is

Q: What am I sitting for in this exam?
A: Throughout the year you have three papers:
     First term, 920/1 = Poetry and Short Stories
     Second term, 920/2 = Plays
     Third term, 920/3 = Novels

Q: How will my marks be counted?
A: Each paper have three sections, three essays to write and each essay is 25 marks. The whole paper weighs 75 marks, in percentage is 33.33%. At the end of your term, the marks for all three papers you took will be added (33.33% + 33.33% + 33.33% = 100%) and you will get your finalized grade.

Q: How do I score 25 marks for all three sections?
A: Content will be 10 marks, elaboration is 10 marks and language is 5 marks. To be on a safe side, write SIX paragraphs for each section.

Introduction

{ State the question: Etc, question is on social and cultural barriers

-write author's background relation to it

- state the poem/short story/play/novel you chose to write on

-how the question affects the characters in those period }

Note: your first content point will be given on how you start 

your essay and how well you relate to the question

Content #1

{ Question posed: With close reference to any two poems, 

discuss how love is expressed through images of nature.
- write on the FIRST poem in this paragraph }

Note: your second content point and elaboration

Content #2

-write on the SECOND poem

Note: your third content point and elaboration

Content #3

-write on the FIRST poem

Note: your fourth content point and elaboration

Content #4

-write on the SECOND poem

Note: your fifth content point and elaboration

Conclusion

{ Conclude your essay and emphasize on how

 it affects/relate to our current society }

Notice: Content 1 - 2 marks           Elaboration 1-  2 marks            Language: Spelling
                         2-  2 marks                                2-  2 marks                       and Grammar

                         3-  2 marks                                3-  2 marks

                         4-  2 marks                                4-  2 marks

                         5-  2 marks                                5-  2 marks                                          

                             10 marks                                   10  marks                             5 marks 

Q: Is the marking system different for each section?
A: No, it is just the same. Each section shares equivalent marks so there are no difference.

Q: What will they look for in my critical appreciation skills?
A:  {Disclamer: content shown can be found from MPM website }

1. Language and form : Literary devices, narrative techniques, setting, characterisation, structure, themes/issues/concerns, readers response, language and style

2. History and culture : Context, themes/issues and cultural perspective

3. Gender : Gender, context ( historical/socio-cultural), themes/issues, perspective (reading as a woman or man) and cultural perspective

Q: How would I know what to pay attention to for poetry/short stories/plays/novels?

A: {Disclamer: content shown can be found from MPM website }

Poetry                                                                   Short Stories

-background                                                        - background

-verse forms                                                        - plot [development of plot]

-devices [figure of speech/diction]                        - characterisation

-metrics [rhythm]                                                 - setting [place/time/atmosphere]

-theme and interpretation                                     - narrative techniques

-atmosphere [mood/feeling]                                 - literary devices

-relevance [relevance to the present]                    - language and style

-moral concerns                                                   - themes

                                                                            - relevance [relevance to the present] 

                                                                            - moral concerns   

Plays                                                                    Novels

- background [writer/period/stage]                        - background [writer/period]

- types of play [comedy/tragedy/etc]                      - plot [development of plot]

- reading the text [language and style/devices]        - characterisation

- aspects of play [plot/structure/characters]            - setting [place/time/atmosphere]

-relevance [relevance to the present]                      - narrative techniques

-moral concerns                                                    - literary devices

                                                                             - language and style

                                                                             - themes

                                                                             - relevance [relevance to the present] 

                                                                             - moral concerns        

Q: How will my essays be graded?

A: {Disclamer: content shown can be found from MPM website }

 Grade A 

 Candidate shows a detailed knowledge and excellent understanding of text. 

 Candidate addresses all aspects of the question with sustained relevance to issues. 

 Candidate exhibits ability to identify, analyse, and evaluate tone, attitude, character, form, 

structure, and language. 

 Candidate demonstrates a critical, sensitive, and original response to text. 

 Candidate shows an informed response to text. 

 Candidate writes fluently and expresses complex ideas clearly. 

 Candidate displays logical and coherent development of argument. 

 Candidate supports argument with appropriate textual evidence. 

  

Grade C  (I don't think I need to bold the requirements to get a grade C, AIM FOR AN A)

Candidate shows sufficient understanding and knowledge of text. 

Candidate addresses some aspects of the question. 

Candidate exhibits some ability to identify and discuss tone, attitude, character, form, structure, 

and language. 

Candidate demonstrates a basic personal response to text. 

Candidate‘s answer contains a fair number of language errors. 

Candidate shows some organisation and development of ideas. 

Candidate supports argument with sufficient textual evidence. 

Candidate uses some narration. 

I wish all candidates best of luck for all your papers!

For more information visit MPM website on 920 paper:
 http://www.mpm.edu.my/documents/10156/28d2cd05-be4c-48a2-b967-bd0a14f4d24e

920/1 Poetry and Short Stories STPM 2013

This question paper is set by MALAYSIAN EXAMINATIONS COUNCIL (also known as MPM). Comments are much appreciated. 

SECTION A : Critical Appreciation

(25 marks)

Answer only one question from this section.

 1     

Aunt Jennifer's Tigers

 Aunt Jennifer's tigers prance across a screen,

Bright topaz denizens of a world of green.

They do not fear the men beneath the tree;

They pace in sleek chivalric certainty.

Aunt Jennifer's finger fluttering through her wool

Find even the ivory needle hard to pull.

The massive weight of Uncle's wedding band

Sits heavily upon Aunt Jennifer's hand.

When Aunt is dead, her terrified hands will lie

Still ringed with ordeals she was mastered by.

The tigers in the panel that she made

Will go on prancing, proud and unafraid.

Adrienne Rich

With close reference to the poem above, discuss how the poet uses symbolism and imagery to depict women and their position in society.

As I have posted before http://literatureforstpm.blogspot.com/search/label/Aunt%20Jennifer%27s%20Tiger contains notes and references you can relate to when you answer this question. 

Or

2                

SHORT STORIES: Malaysian Short Stories

"I'm thinking of stopping my son", she shouted above the noise of the tap. [page 142]

...

It was midday when she hung to dry the last handkerchief. The newly surfaced road that had looked so cool an hour before now scorched her bare feet. She regretted her vow to walk barefoot for the rest of her life. She remembered how she had thrown herself on the coffin and shrieked, "I'll wear no slippers! No other man will wear me! No other man!" [page 143]

K.S. Maniam: The Dream of Vasantha

With close reference to the passage, discuss the emotions felt by Vasantha and what these emotions reveal of her personality? 

Version of book used is Malaysian Short Story, edited by Llyod Fernando, publised 2005 by Maya Press Sdn. Bhd.

SECTION B : Poems

(25 marks)

(For this section you must base your answer on the prescribed poems in the syllabus)
Answer the question below.

3 With close reference to any two poems, illustrate how irony is used to comment on life and relationships.

There are numerous ageing themed poems that can be used to answer this question such as When You Are Old, On Growing Old and Sonnet 73. Link for When You Are Old; http://literatureforstpm.blogspot.com/2013/05/on-growing-old-john-masefield.html

SECTION C : Short Stories: Malaysian Short Stories

(25 marks)

(For this section you must base your answer on the prescribed short stories in the syllabus)
Answer the question below.

3 With close reference to any two short stories in Malaysian Short Stories, discuss issues relating to the themes of multiculturalism. 

Most popular choice of two short stories are Pasang by Pretam Kaur [ http://literatureforstpm.blogspot.com/search/label/Pasang ] and Through The Wall also by Pretam Kaur.

© Majlis Peperiksaan Malaysia 2012