May 2015 Paper 2: With reference to at least two texts you have studied,

analyse the techniques used by the writers to evoke an emotional

response in the reader.

The success of a piece of literature depends on many factors, however, the impact it leaves

on the reader/viewer can determine its publicity. This is because the readers/viewers are

more likely to talk about it, therefore writers often leave great impressions of their work on

the audience in order to make their views heard. In all three texts, Things Fall Apart by

Chinua Achebe, A Doll’s House by Henrik Ibsen, and Death of a Salesman by Arthur Miler,

the writers have evoked emotional response amongst their audience through various

techniques. In their literary works they were able to cause a stir through questioning

change or challenging the norm of society in regard to colonialism, female oppression, or

the unrealistic desire to achieve the “American Dream”.

In Things Fall Apart, Achebe tells the story of Ibo society both before an after colonisation

by white people. Achebe’s novel is a success as he is one of the few – and perhaps the

first – to write about the colonizing period from the perspective of black Africans, as

opposed to the more commonly told story from the perspective of white colonisation. In

separating the novel into three parts, the reader is able to witness the rapid social change

in Ibo society. This structuring of the novel allows readers to learn more about Ibo society,

culture, traditions, and values in Part 1. Part 1 is the longest section of the novel;

significantly, this allows the (probably white, “Western”) reader the opportunity to become

familiar with Ibo society, including their religion and beliefs in different deities. For example,

readers learn that if a couple are to be married, the groom has to pay a “bride price” in

cowries to the bride’s family. In Parts 2 and 3, the novel shifts to focus on the arrival of

colonial whites. However, before this happens, half of the novel has elapsed, and the

reader has become familiar with the Ibo, developing and understanding and emotional

connection to them. The arrival of whites causes significant disruption in Ibo society. Their

society changes irrevocably, and it is likely that the reader will a sense of intrusion and

sympathy with the Ibo people.

In addition, the shift in the novel after Part 1 allows a passage of time to elapse. In the 7-

year period between Parts 1 and 2, the tragic protagonist Okonkwo returns to Umofia from

his motherland Mbanta where he has been banished. Okonkwo’s return from exile reveals

to the reader what has been lost in Ibo society. The white colonizers (and possibly the

reader) view the Ibo as primitive savages. The colonizers perspective reflects a failure and

unwillingness to understand the Ibo, “but how could they if they don’t even understand our

tongue, and they think our customs are bad”. The reader is encouraged to share the Ibo

point of view and to develop sympathy as they powerlessly accept colonial domination.

Similar challenges in conventional view are also apparent in Ibsen’s play A Doll’s House.

Whilst Achebe challenges perspectives on race and ethnicity, Ibsen is concerned to reveal

the inequality that exists between genders in late 19th century Norway. Ibsen reveals this

most obviously through focussing on the entrapment of the female protagonist, Nora

Helmer. Ibsen employs dramatic irony in order to question the position of men and women.

The political implications of Ibsen’s play were significant around the time of its first

performance; it was frequently banned as it was thought that the ideas in the play may

incite women to challenge the hegemony of patriarchy. Through dramatic irony, theatre

audiences learn of Nora’s habit of lying to her husband, Torvald. Audiences learn, as the

play progresses, and lie builds on lie, that Nora is a deceitful character. Early in the first act,

the audience learns that Nora has lied to Torvald over the purchase and consumption of

macaroons which Torvald has “forbidden”. Acts such as the eating of macaroons, create

dramatic irony, and they foreshadow the “the big thing”. It is this “big thing” that is central to

the drama; specifically, Nora, the audience learns, has forged her dead father’s signature in

order to secure money for a trip to Italy in an attempt to improve Torvald’s health. To a

contemporary audience, this may not seem particularly shocking. However, the reaction of

an audience at the time of first production is likely to have been very different. Not only is

Nora morally culpable, in lying to her husband, it is also the case that “women cannot

borrow money”. The role reversal that has a woman providing for her husband upsets ideas

about what is appropriate and possible. This challenge to conventional thinking led to the

banning of the play, and this idea at least continues to intrigue modern audiences.
Modern audience, however, are likely to take a very different view of the play than

19th century audiences. In particular, views of women have changed quite significantly.

Women are often legally equal to their husbands – quite different to the circumstance of

Nora and Torvald. Women no longer have sole responsibility for child care (although they

may continue to do most of it). And, women do not function as objects that exist to beautify

the lives of husbands. Modern audiences are unlikely to see as affectionate Torvald’s

patronising his wife Nora through diminutive expressions such as “songbird” and “skylark”.

In fact, contemporary audiences are more likely to recognise the relationship between

Torvald’s symbolic diminution of Nora and her physical entrapment in her “doll’s house”. It

is in this sense that the modern viewer in the play is likely to develop a strong emotional

response, sympathetic to Nora, and hostile to her condescending husband.

As in Achebe’s novel and Ibsen’s play, Arthur Miller’s play Death of a Salesman evokes an

emotional response in theatre audiences. It is the use of flashback that arouses emotion

and appeals to pathos. Throughout the play, the anti-hero protagonist, Willy Loman, and

everyman failing in his pursuit of the American Dream, experiences a series of flashbacks.

These flashbacks are revealed to audiences through the use of music and the sound of a

flute. The music conveys a transition as Willy moves from the present to the past. Willy

goes through his normal routine while continuing to live in the past. This behaviour shows

Willy’s sad transformation – a downward spiral – as he struggles to attain the material

success that would represent the attainment of the American Dream. He fails to earn

commission as a salesman, meaning that “nothing has been planted” for his sons Biff and

Happy.

Through flashbacks, audiences learn that the past was more prosperous for Willy and there

was a greater sense of promise at a time when Biff was an elite football player. Miller’s

technique allows audiences to see Willy’s descent into madness as he loses touch with

reality. The audience develops sympathy for Willy as the dichotomy between appearance

and reality becomes increasingly obvious. Willy wants his son Biff to become a great

salesman believing that “it’s not what you say, it’s how you say it. Because in the end,

personality wins the day”. However, it isn’t only personality that matters and this is why
Willy never remained a great salesman. Willy is dislocated in a changing world, a world in

which personality is no longer adequate to achieve success. In this sense, like Okonkwo,

Willy is a man out of time. He becomes increasingly stubborn, reminiscing about past

success, whilst in the present he is just a “little boat looking for a harbour”. The use of

flashback in the play provides a contrast between Willy’s ideal world and his unfortunate

present. The audience is likely to develop sympathy for Willy. It is his intransigence that

leads him to descend into madness, and tragically, like Okonkwo, to commit suicide.

In conclusion, there are various techniques employed by writers to encourage an emotional

response from a reader or audience. In the examples discussed, the writers have shown

how structuring a text, creating dramatic irony, and using flashbacks can provoke emotion.

However, it is also the case that contexts of production and reception, including the

characteristics of the reader/audience, influence the actual response to a text. Responses

may be positive or negative, but literary works, such as those discussed, are often

memorable and enduring when they provoke readers to reconsider their social

circumstances. Sometimes literary works actually contribute to questioning society’s

values, and are participants in social change.

Teacher's Comments
Criterion A - Knowledge and understanding - 5 marks
The essay demonstrates an understanding of the works and knowledge of the contexts in
which they were written. The student shows how context affects interpretations of the texts.

4 out of 5 – The student does well in this criterion. One is probably looking for further, more
nuanced, critical insight if full marks are to be rewarded.

Criterion B - Response to the question - 5 marks

A Paper 2 essay should focus on the question chosen. The implications of the exam
question need to be explored in depth, and the student's response must be relevant to it.

5 out of 5 – Very well focused throughout. The student ‘picks-up’ the question in the
introductory paragraph and remains germane until the final word in the conclusion.

Criterion C - Understanding of the use and effects of stylistic features - 5 marks

In the Paper 2 exam, a connection needs to be made between the author's use of stylistic
features and the effect of them on his or her audience. As Paper 2 questions invite students
to explore how meaning is shaped by context, answers will have to explain why authors
choose for a certain genre, narrative technique or structure.

4 out of 5 – The student organises her essay around a discussion of stylistic devices. She
is careful to relate stylistic devices to the effect on the reader/audience, and to continually
weave the discussion back to the question. Some discussion of style is a little implicit, and
would benefit from further development.

Criterion D - Organization and development - 5 marks

The essay must develop an answer to the question coherently and effectively. Topic
sentences should guide the ideas of paragraphs. Illustrations should be integrated well and
explanations should shed light on the subject matter.

5 out of 5 – Possibly there is a minor tendency to repetition. Although the introductory

paragraph does not exactly knock your socks off, it is apposite. There is good focus
throughout, and ideas are clearly and coherently developed. The balance is just about spot
on.

Criterion E - Language - 5 marks

The language of the Paper 2 exam should be effective and accurate. The choice of
vocabulary and use of grammar should be consistent and appropriate.

5 out of 5 – Very little, if anything is unclear. The language, punctuation, and sentence
structure are generally exceptional.