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English Extension 1 Essay Marking

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elysepopplewell:

--- Quote from: Lauradf36 on July 24, 2016, 09:37:21 pm ---Oh no, hope she gets better soon :( And yes, any fresh set of eyes on a creative would be great!

--- End quote ---

Hi! I'm so sorry I couldn't help out over the weekend :(
If you do want some more feedback on this, just say the word and I can take a look! I'd do it automatically now, but I don't want to bombard you if you'd like to repost after trials or something like that. But, if you'd like some feedback, drop by and let me know :)

Lauradf36:

--- Quote from: elysepopplewell on July 25, 2016, 07:16:22 pm ---Hi! I'm so sorry I couldn't help out over the weekend :(
If you do want some more feedback on this, just say the word and I can take a look! I'd do it automatically now, but I don't want to bombard you if you'd like to repost after trials or something like that. But, if you'd like some feedback, drop by and let me know :)

--- End quote ---

That's fine! If you want to take a look now it'd be great to have any feedback, with trials in a few weeks. I hope you are feeling better now!  :)

jamonwindeyer:
Attention! The essay marking requirements have been updated, in effect for every essay posted below this mark  ;D The post exchange rate has now been increased to 15, that is, every piece of feedback is now worth 15 posts. 3 essays marked needs 45 ATAR Notes posts, 10 essays needs 150 posts, etc etc. The full essay rules are available at this link! Thanks everyone!  ;D

Lauradf36:
Hey, when you have time, could you have a brief look at this practise essay for extension 1? I typed it under timed conditions so it's not very refined, but I'd appreciate thoughts/feelings anyway! It's from Elective 2 - Romanticism. And I hope the rest explains itself :)

Q. The art of words and images has the power to evoke questioning and resistance.

Evaluate this statement with reference to TWO prescribed texts and at least TWO texts of your own choosing.

The Romantic era was a movement between 1770 and 1850 concerned with radically redefining the nature and condition of humanity through social, political, and intellectual change. During this period, society rebelled against the oppression of dictators, the Neoclassic dictation of knowledge through rationality and the classics, and the division of society in a hierarchy of power. However, the ruthless violence and bloodshed during the Reign of Terror caused individuals to challenge this ideal. Texts of the Romantic era thus reveal how the art of words and images have the power to evoke questioning about the nature and condition of humanity. This can be explored through the use of essay, novel, and pictorial formats to question dictated education and innate morality, and express resistance to the oppression of authority and class boundaries. The texts Vindication of the Rights of Woman by Mary Wollstonecraft, Frankenstein by Mary Shelley, The Man of Feeling by Henry Mackenzie, and The Sleep of Reason Produces Monsters by Goya are used to demonstrate these ideas. Overall, the form of the texts allow both the composer and the audience to profoundly consider their individual experiences of humanity and its restriction by society.

The art of words and images used in Romantic texts firstly evokes a radical questioning of dictated standards of education and knowledge. Wollstonecraft’s Vindication of the Rights of Woman was written during the late 1700s, during a period when females where in a legal position of couverture, and had few rights and little independence within a patriarchal society. The composer uses an essay format to express a revolutionary view of the role of education in transforming these dictated intellectual standards for women. The author questions “the more specious slavery which chains the very soul of the woman, keeping her forever under the bondage of ignorance.” (p179). These symbols of “slavery” and “chains” correspond with the abolition movement to represent the educational restraints coercing females into “ignorance”. This negative representation of the ignorance imposed on females displays a clear challenging of earlier revolutionaries such as Rousseau, who held that females “ought to study the mind of men”. Moved by the rebellious atmosphere of the French Revolution, Wollstonecraft was thus convicted of the need to emancipate females through education. She contrastingly asserted that “some degree of liberty of mind is necessary even to form the person” (p97). This represents a clear desire for intellectual freedom rather than dictated knowledge of the Neoclassic era.
These ideas are supported by Mackenzie’s sentimental Scottish novel, The Man of Feeling. The text follows protagonist Harley as he mourns over the corruption of his world by urbanisation and aristocracy. Mackenzie challenges a restrictive education, stating that “the young gentleman was suffered to be his own master in the subsequent branches of literature” (p25). Similar to Wollstonecraft, this demonstrates the significance of individual freedom for the pursuit of knowledge. Harley also encounters a misanthrope who criticises the mode of education of the day, which he believes does not fulfil the individual’s unique needs. He emotively berates how “the education of your youth is every way preposterous; you waste at school years in improving talents, without having ever spent an hour in discovering them” (p73). The author hence elevates the development of knowledge through experience by questioning the dictated ideas of Neoclassic society. Mackenzie also uses ideas of gender similar to Wollstonecraft, complaining that “Nor are your females trained to any more useful purpose: they are taught…that a young woman is a creature to be married” (p31). This essay style form allows Mackenzie to integrate sentiment and sensibility with ideas of social and political reform in the gender oriented education. This displays a revolutionary questioning of regimented knowledge in early Romantic society.

The art of language employed in these texts also conveys questioning about human morality, and its innate disposition for benevolence or evil. The traditional Romantic view celebrated the human potential for revolutionary social and political change, and upheld the value of life and oneness. However, Shelley’s later Romantic text Frankenstein uses language to challenge this idealistic perception and portray the dangers of giving excessive freedoms to humanity. This is manifest in the creature, who initially connects with humble lower classes as trait of kindness moved me sensibly”, and consequently “brought home firing sufficient for the consumption of several days” (p114). Shelley makes classical allusions to Prometheus, who demonstrated benevolence by attempting to put the power of life in the hands of humans. Nonetheless, the creature soon encounters the impact of such power, stating that “For a long time I could not conceive how one man could go forth to murder his fellow, or even why there are laws and governments, but when I heard details of vice and bloodshed… I turned away with disgust & loathing” (p122). Shelley employs emotive language to portray the creature’s horror at the reality of the innately evil humanity he perceives. The creature thus epitomises later conservative questioning about the human condition following the devastation of the Terror.
The art of images employed through The Sleep of Reason Produces Monsters by Francis Goya also demonstrates a challenge to revolutionary optimism by displaying the innate evil that emerges when reason and rationality are abandoned. The artwork depicts owls, bats, and other animals of the night appearing from the artist’s mind as they allow imagination and the faculties of the mind to be explored without restriction. Robert Hughes corroborates this by stating the characters are ‘creatures of night, and thus of ignorance-and possibly of bloodsucking evil as well, in their association with the devil’. The artwork hence represents the inherent evil of the human mind that Shelley depicted when untamed by societal restrictions. Goya also uses artistic techniques to question the celebration of the inherent human spirit. The chiascorou utilised emphasises the difference in light and shade, and thus exemplifies the darkness of human morality. The scaling employed also depicts the animals appearing from the human world and coming toward the natural world. This further examines the morality of humanity, suggesting that a desire for unity with nature is misused by individually driven desires. Overall, this powerfully questions the Romantic ideal of the potential for humanity, and instead displays ideas of inner darkness manifest in the Terror.

Texts of the Romantic era also employ the art of words and images to convey a resistance to authorities. Whilst Neoclassicism highly valued the monarchy, the corruption of French dictator Louis XIV and societal institutions instigated widespread rebellion against it. In Vindication, Wollstonecraft claimed this “convenient handle for despotism” (p182) had forced a universal depravity over original benevolence, and that transformative moral change was required in response. Her conviction was influenced by mentoring philosopher Dr Price, who declared that “the world is in darkness” (Discourse, 1789). Wollstonecraft particularly deplores the morality of females under this authority by using an essay format. She alleges they were “Confined then in cages like the feathered race” and thus had “nothing to do but plume themselves” (p72). This animalistic metaphor suggests that women were coerced by society to form a vapid materialism removed from their basest humanity. Hence, Wollstonecraft announces, “It is time to effect a revolution in female manners… time to separate unchangeable morals from local manners.” (p60) The repetition of “time” creates an urgency in this charge, emotively rallying readers to resist the corrupt teachings of authority and develop unprecedented new values.
The images employed in Goya’s The Sleep of Reason also evoke ideas of this resistance to authority and power. Similar to Wollstonecraft’s context, the revolutionary artwork was created during a time of dictatorship in Spanish society, when the Spanish Inquisition controlled religion under the Spanish monarchy. This is demonstrated by the position of the artist’s body, which is slumped and hides the individual’s face. Goya hence suggests the removal of personal autonomy due to the dictation of the authorities. He then indicates that this overt authority has a detrimental impact on human and natural worlds. The symbolism of outstretched wings on animals associated with evil reveals his perception that those in power misuse this for corrupt ends, and even impinge on the sacredness of nature that was upheld in Romantic thought. Vector lines also draw attention to the defeated position of the artist, revealing the detrimental impact of such heteronomy on the individual human spirit. This ridicules the crippling deficiencies of Spanish aristocracy as the artist perceived, like Wollstonecraft. The emotive response evoked by such monsters and the darkness enveloping them, hence encourages individuals to resist this loss of freedom caused by corrupt authorities.

Finally, the texts of the era employed words and pictures to evoke resistance against regimented class boundaries. The Romantics valued the oneness of human life and unity of human experience, thus the division of society into classes was perceived negatively in Shelley’s Frankenstein. The creature emotively considers, “I heard of the division of property, of immense wealth and squalid poverty… was I, then, a monster, a blot upon the earth…whom all men disowned?” (p123) This clear antagonism of humanity and its “divisions” reveals a desire for unity rather than unjust class systems. The creature further recognises the detriment of these divisions on personal identity by applying them to his own status. He emotively describes himself as “a blot upon the earth” within this system to portray his disillusionment with the structures. Conversely, the creature esteems the societal oneness created by the undivided family he encounters. He praises them that, “Here there is less distinction in the classes of its inhabitants; and the lower orders, being neither so poor nor so despised, their manners are more refined and more moral.” (p66) Shelley again employs emotive language to resist the injustice and poverty created by class compared to the intellectual progress allowed by unity.
The Man of Feeling additionally communicates the spurious impact of the hierarchy by demonstrating the collective destitution of its lowest members. Sentimental texts often focused on weaker members of society, such as orphans and condemned criminals, and allowed readers to identify and sympathise with them. Mackenzie thus emotively describes how “so many pensioners [were] allowed to take the bread out of the mouth of the poor” (p51). This metaphorically illustrates the inequities created by class structures that Shelley perceived, with higher classes imposing poverty rather than societal oneness on those below them. As the Man of Feeling, Harley thus “stood fixed in astonishment and pity!… he burst into tears, and left them.” (p27) The author uses imagery to evoke empathy in the reader and a desire to resist these class restrictions. The protagonist then blames this on the divisions created by excessive wealth and power, just as Shelley had communicated. He laments that “[the world] bring to an undistinguished scale the means of the one, as connected with power, wealth, or grandeur, and of the other with their contraries.” (p22) The art of an essay style is able to implement ideas of social reform with Harley’s sentimentalism, thus conveying the detrimental impact of class and wealth on a society desperately needing unity.

In conclusion, it is evident that texts of the Romantic era thus reveal how the art of words and images have the power to evoke questioning about the nature and condition of humanity. This can be explored through the use of essay, novel, and pictorial formats to question dictated education and innate morality, and express resistance to the oppression of authority and class boundaries. The texts Vindication of the Rights of Woman by Mary Wollstonecraft, Frankenstein by Mary Shelley, The Man of Feeling by Henry Mackenzie, and The Sleep of Reason Produces Monsters by Goya are used to demonstrate these ideas. Overall, the form of the texts allow both the composer and the audience to profoundly consider their individual experiences of humanity and its restriction by society. Ultimately, the words and pictures employed reveal that Romantic questioning and resistance was imperative to achieving the full recognition of the rights and justice of humanity in a corrupted society.

elysepopplewell:

--- Quote from: Lauradf36 on August 02, 2016, 10:03:15 pm ---Hey, when you have time, could you have a brief look at this practise essay for extension 1? I typed it under timed conditions so it's not very refined, but I'd appreciate thoughts/feelings anyway! It's from Elective 2 - Romanticism. And I hope the rest explains itself :)

Q. The art of words and images has the power to evoke questioning and resistance.


--- End quote ---

Hello! I'll jump to this now :)

In the spoiler is your essay, with my own comments throughout. But I tend to stop writing comments towards the end if there is a recurring suggestion, in which case I'll write it below the spoiler :)

SpoilerQ. The art of words and images has the power to evoke questioning and resistance.

Evaluate this statement with reference to TWO prescribed texts and at least TWO texts of your own choosing.

The Romantic era was a movement between 1770 and 1850 concerned with radically redefining the nature and condition of humanity through social, political, and intellectual change. During this period, society rebelled against the oppression of dictators, the Neoclassic dictation of knowledge through rationality and the classics, and the division of society in a hierarchy of power. However, the ruthless violence and bloodshed during the Reign of Terror caused individuals to challenge this ideal. Texts of the Romantic era thus reveal how the art of words and images have the power to evoke questioning about the nature and condition of humanity I like how you've changed the human condition, to the condition of humanity. Something fresh!. This can be explored through the use of essay, novel, and pictorial formats to question dictated education and innate morality, and express resistance to the oppression of authority and class boundaries. The texts Vindication of the Rights of Woman by Mary Wollstonecraft, Frankenstein by Mary Shelley, The Man of Feeling by Henry Mackenzie, and The Sleep of Reason Produces Monsters by Goya are used to demonstrate these ideas. Overall, the form of the texts allow both the composer and the audience to profoundly consider their individual experiences of humanity and its restriction by society. I tend to think that extension introductions are stronger when all four texts aren't in the one sentence. I chose to group mine into pairs, and then paired it with the argument that I would use. So, I did after the bomb, not romanticism, but I'd say something like: "Text A and Text B are both a response to the existential way of thinking, as is observed through the manipulation of art in their cinematic form." And then Text C and D would be introduced and grouped, potentially focusing more on the 'words' part of the question, or whatever suited. I think your introduction is hard to flaw because you've fleshed out what romanticism is, the purpose of the composers, you've introduced the texts, and related to the audience. This is just a small suggestion that might give some more unique direction to your essay, because your marker knows exactly what ideas you want to flesh out with each text.

The art of words and images used in Romantic texts firstly evokes a radical questioning of dictated standards of education and knowledge. Wollstonecraft’s Vindication of the Rights of Woman was written during the late 1700s, during a period when females where were in a legal position of couverture, and had few rights and little independence within a patriarchal society. The composer uses an essay format to express a revolutionary view of the role of education in transforming these dictated intellectual standards for women. The author questions “the more specious slavery which chains the very soul of the woman, keeping her forever under the bondage of ignorance.” (p179). These symbols of “slavery” and “chains” correspond with the abolition movement to represent the educational restraints coercing females into “ignorance”. This negative representation of the ignorance imposed on females displays a clear challenging of earlier revolutionaries such as Rousseau, who held that females “ought to study the mind of men”. Solid sentence!! Moved by the rebellious atmosphere of the French Revolution, Wollstonecraft was thus convicted of the need to emancipate females through education. She contrastingly asserted that “some degree of liberty of mind is necessary even to form the person” (p97). This represents a clear desire for intellectual freedom rather than dictated knowledge of the Neoclassic era.
These ideas are supported by Mackenzie’s sentimental Scottish novel, The Man of Feeling. The text follows protagonist Harley as he mourns over the corruption of his world by urbanisation and aristocracy. Mackenzie challenges a restrictive education, stating that “the young gentleman was suffered to be his own master in the subsequent branches of literature” (p25). Similar to Wollstonecraft, this demonstrates the significance of individual freedom for the pursuit of knowledge. Harley also encounters a misanthrope who criticises the mode of education of the day, which he believes does not fulfil the individual’s unique needs. He emotively berates how “the education of your youth is every way preposterous; you waste at school years in improving talents, without having ever spent an hour in discovering them” (p73). The author hence elevates the development of knowledge through experience by questioning the dictated ideas of Neoclassic society. Mackenzie also uses ideas of gender similar to Wollstonecraft, complaining that “Nor are your females trained to any more useful purpose: they are taught…that a young woman is a creature to be married” (p31). This essay style form allows Mackenzie to integrate sentiment and sensibility with ideas of social and political reform in the gender oriented education. This displays a revolutionary questioning of regimented knowledge in early Romantic society. I can't believe you wrote this in exam conditions! It is so well structured. However, it is worth noting that you used the word "art" once in the body paragraphs so far. Also, "words" once. I think we need to increase the usage of the key words of the question. You have great analysis, we just need to pair it with a completely confident attack on the question in order to enhance the overall integrity!

The art of language employed in these texts also conveys questioning about human morality, and its innate disposition for benevolence or evil. The traditional Romantic view celebrated the human potential for revolutionary social and political change, and upheld the value of life and oneness. However, Shelley’s later Romantic text Frankenstein uses language to challenge this idealistic perception and portray the dangers of giving excessive freedoms to humanity. This is manifest in the creature, who initially connects with humble lower classes as trait of kindness moved me sensibly”, and consequently “brought home firing sufficient for the consumption of several days” (p114). Shelley makes classical allusions to Prometheus, who demonstrated benevolence by attempting to put the power of life in the hands of humans. Nonetheless, the creature soon encounters the impact of such power, stating that “For a long time I could not conceive how one man could go forth to murder his fellow, or even why there are laws and governments, but when I heard details of vice and bloodshed… I turned away with disgust & loathing” (p122). Shelley employs emotive language to portray the creature’s horror at the reality of the innately evil humanity he perceives. The creature thus epitomises later conservative questioning about the human condition following the devastation of the Terror. I just want to see a tiny bit more about the idea of morality or evil in this last bit to tie the paragraph off. When you mentioned it in your topic sentence, my eyes were peeled to hear more about it. And you definitely don't ignore it, but a really explicit tie at the end might just round it off perfectly.
The art of images employed through The Sleep of Reason Produces Monsters by Francis Goya also demonstrates a challenge to revolutionary optimism by displaying the innate evil that emerges when reason and rationality are abandoned. The artwork depicts owls, bats, and other animals of the night appearing from the artist’s mind as they allow imagination and the faculties of the mind to be explored without restriction. Robert Hughes corroborates this by stating the characters are ‘creatures of night, and thus of ignorance-and possibly of bloodsucking evil as well, in their association with the devil’. This is some awesome analysis that links directly with the question - so good!The artwork hence represents the inherent evil of the human mind that Shelley depicted when untamed by societal restrictions. Goya also uses artistic techniques to question the celebration of the inherent human spirit. The chiascorou utilised emphasises the difference in light and shade, and thus exemplifies the darkness of human morality. The scaling employed also depicts the animals appearing from the human world and coming toward the natural world. This further examines the morality of humanity, suggesting that a desire for unity with nature is misused by individually driven desires. Overall, this powerfully questions the Romantic ideal of the potential for humanity, and instead displays ideas of inner darkness manifest in the Terror. So far, this paragraph is the most impressive in terms of your response to the question, being intertwined with your analysis. This is wonderful!

Texts of the Romantic era also employ the art of words and images to convey a resistance to authorities. Whilst Neoclassicism highly valued the monarchy, the corruption of French dictator Louis XIV and societal institutions instigated widespread rebellion against it. In Vindication, Wollstonecraft claimed this “convenient handle for despotism” (p182) had forced a universal depravity over original benevolence, and that transformative moral change was required in response. Her conviction was influenced by mentoring philosopher Dr Price, who declared that “the world is in darkness” (Discourse, 1789). Wollstonecraft particularly deplores the morality of females under this authority by using an essay format. She alleges they were “Confined then in cages like the feathered race” and thus had “nothing to do but plume themselves” (p72). This animalistic metaphor suggests that women were coerced by society to form a vapid materialism removed from their basest humanity. Hence, Wollstonecraft announces, “It is time to effect a revolution in female manners… time to separate unchangeable morals from local manners.” (p60) The repetition of “time” creates an urgency in this charge, emotively rallying readers to resist the corrupt teachings of authority and develop unprecedented new values.
The images employed in Goya’s The Sleep of Reason also evoke ideas of this resistance to authority and power. Similar to Wollstonecraft’s context, the revolutionary artwork was created during a time of dictatorship in Spanish society, when the Spanish Inquisition controlled religion under the Spanish monarchy. This is demonstrated by the position of the artist’s body, which is slumped and hides the individual’s face. Goya hence suggests the removal of personal autonomy due to the dictation of the authorities. He then indicates that this overt authority has a detrimental impact on human and natural worlds. The symbolism of outstretched wings on animals associated with evil reveals his perception that those in power misuse this for corrupt ends, and even impinge on the sacredness of nature that was upheld in Romantic thought. Vector lines also draw attention to the defeated position of the artist, revealing the detrimental impact of such heteronomy on the individual human spirit. This ridicules the crippling deficiencies of Spanish aristocracy as the artist perceived, like Wollstonecraft. Great link! The emotive response evoked by such monsters and the darkness enveloping them, hence encourages individuals to resist this loss of freedom caused by corrupt authorities.

Finally, the texts of the era employed words and pictures to evoke resistance against regimented class boundaries. The Romantics valued the oneness of human life and unity of human experience, thus the division of society into classes was perceived negatively in Shelley’s Frankenstein. The creature emotively considers, “I heard of the division of property, of immense wealth and squalid poverty… was I, then, a monster, a blot upon the earth…whom all men disowned?” (p123) This clear antagonism of humanity and its “divisions” reveals a desire for unity rather than unjust class systems. The creature further recognises the detriment of these divisions on personal identity by applying them to his own status. He emotively describes himself as “a blot upon the earth” within this system to portray his disillusionment with the structures. Conversely, the creature esteems the societal oneness created by the undivided family he encounters. He praises them that, “Here there is less distinction in the classes of its inhabitants; and the lower orders, being neither so poor nor so despised, their manners are more refined and more moral.” (p66) Shelley again employs emotive language to resist the injustice and poverty created by class compared to the intellectual progress allowed by unity.
The Man of Feeling additionally communicates the spurious impact of the hierarchy by demonstrating the collective destitution of its lowest members. Sentimental texts often focused on weaker members of society, such as orphans and condemned criminals, and allowed readers to identify and sympathise with them. Mackenzie thus emotively describes how “so many pensioners [were] allowed to take the bread out of the mouth of the poor” (p51). This metaphorically illustrates the inequities created by class structures that Shelley perceived, with higher classes imposing poverty rather than societal oneness on those below them. As the Man of Feeling, Harley thus “stood fixed in astonishment and pity!… he burst into tears, and left them.” (p27) The author uses imagery to evoke empathy in the reader and a desire to resist these class restrictions. The protagonist then blames this on the divisions created by excessive wealth and power, just as Shelley had communicated. He laments that “[the world] bring to an undistinguished scale the means of the one, as connected with power, wealth, or grandeur, and of the other with their contraries.” (p22) The art of an essay style is able to implement ideas of social reform with Harley’s sentimentalism, thus conveying the detrimental impact of class and wealth on a society desperately needing unity.

In conclusion, "In conclusion" is a bit of a cheat way to start a conclusion. Your essay is so strong throughout, you don't want to let it down with a less than perfect conclusion introduction.  You could just start the conclusion with "it is evident that..."it is evident that texts of the Romantic era thus reveal how the art of words and images have the power to evoke questioning about the nature and condition of humanity. This can be explored through the use of essay, novel, and pictorial formats to question dictated education and innate morality, and express resistance to the oppression of authority and class boundaries. The texts Vindication of the Rights of Woman by Mary Wollstonecraft, Frankenstein by Mary Shelley, The Man of Feeling by Henry Mackenzie, and The Sleep of Reason Produces Monsters by Goya are used to demonstrate these ideas. Overall, the form of the texts allow both the composer and the audience to profoundly consider their individual experiences of humanity and its restriction by society. Ultimately, the words and pictures employed reveal that Romantic questioning and resistance was imperative to achieving the full recognition of the rights and justice of humanity in a corrupted society.
Your conclusion is awesome! Although, my same suggestion stands for the introduction and conclusion: You don't want to be seen as dismissing the texts by listing all four in one sentence. It's not the end of the world, but I think it is a small thing that gives you some more scope to dig into it, in the hopes of increasing the sophistication of the essay.

Overall, I cannot believe this was in exam conditions! It's so great! I didn't point out the small areas of awkward wording (there was like, 2) because when you read this out loud you'll find them for yourself. So my next suggestion is to read this out loud and see how it reads. You'll notice so many little things. Some things won't necessarily be mistakes, but you'll see a way to turn what is good into great, in terms of expression.

Your analysis is awesome, your quotes are diligently selected and reflect a lot of study. The only problem that I see as needing to be fixed by your trial is your response to the question. You deal with art really well in that particular paragraph that I commented on. It was like your analysis was made to fit the question there, it was wonderful! You can definitely use synonyms, like language instead of words, as you've done. But, the words of the question may sound awkward but you need to use them explicitly. Perhaps you can be certain to use the words of the question at the start and end of the paragraph, and substitute for more suitable synonyms throughout the paragraph's body. The reason for this is, the marker can be reading your work and thinking, "good...goood...goood" but then you'll re-affirm their thoughts by dropping the words of the question, perfectly embedded, and they'll be like "good..goood..GREAT!!!" In Extension essays, you have a lot of freedom for creativity, but then you also need to be ticking boxes at the same time. And using the words of the question needs to be a really conscious effort that is at the forefront of your mind in an exam.

I haven't studied Romanticism like I said, so I can't really deliver an opinion on the way that you're speaking with accuracy. But, I can say that as someone who doesn't know a lot about Romanticism, I definitely felt as though you knew what you were talking about! You write with such clarity!!

I hope this gives you a bit of direction for the trials! Good luck! :)

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