The Ultimate 2024 Guide to Reading Unseen Texts for English Examinations and Interviews: An Oxbridge Student’s Perspective
The Ultimate Guide to Tackling an Unseen Text in English Literature
At some point, all English students will be given a passage of literature and asked to ‘analyse’ or ‘respond’ to it. Your answer will illustrate to an examiner or interviewer, what techniques you have learnt throughout your studies, and how you can apply your knowledge to new materials.
On the surface this can seem like a daunting task – at a higher level, you may not be given any specific instructions other than ‘respond to the given text’ – and it can be easy to get overwhelmed. With this in mind we have compiled a crib sheet for unseen texts, guiding you with what to look for if you encounter unseen poetry, prose or drama.
Who is this useful for?
GCSE and A-Level English students are required to tackle questions on unseen texts
Oxbridge applicants: Most humanity subject interviews at Oxbridge will involve a discussion of an unseen text. English applicants are required to tackle unseen texts in the admissions tests
General Advice on Approaching Unseen Texts:
Read, read...and read again. This might seem obvious, but it can be easy to become so caught up in immediate analysis that you’ll rush through the text without fully understanding it. Before you do anything else, make sure you’ve spent some time getting to grips with the language and structure. If you can do so without being disruptive, read aloud under your breath – this will help you to get a feel for the passage’s sound and flow.
Don’t be afraid if you don’t understand it at first. It might be unnerving if you’re faced with a passage with words or phrases that you’re unfamiliar with. If this happens, don’t be afraid - try to grasp the meaning of the words by looking at them in the context of the lines before and after. It is also sometimes not necessary to understand the meaning of every single word, you can simply look to other parts of the text for evidence. If at interview, ask your interviewer for clarity! It’s better to set the record straight than to struggle to explain a text you haven’t fully understood – it might even lead you to a more interesting discussion...
Make notes! Usually you’ll have some minutes to plan your response and interrogate the extract. Jot down your ideas, including short summary notes on what you think each section is about and important techniques being used. If at interview, you will often have fifteen to twenty minutes to analyse your text before the interview begins, and there’s nothing we would recommend more than writing down your ideas. Even if you’re not much of a note taker, just jotting down a few ideas can serve as a helpful reminder when you’re in a potentially stressful interview situation!
Think about context. In many cases, the text you’re given to analyse will have had the author, title and date removed. This is a deliberate move to ensure that you’re focusing on the language itself rather than coming up with biographical or historical insight. However, it can be helpful to look out for clues in the language or style that suggest a certain time period or country of origin.
Let’s talk about...poetry:
How is the poem structured?
· Are stanzas used? If so, are they regular or irregular?
· Is the poem repetitive? What is the effect of repetition?
· Is there any enjambment? Pay particular attention to movement between stanzas – is meaning continued into the next stanza?
· Are the lines the same length?
· Are there any exclamations? What emotions do they convey?
What’s the rhyme scheme?
· What rhyme scheme has the poet used, if any?
· Do they sustain the rhyme scheme throughout? If it breaks down at any point, what effect does this have? It can be interesting to link the use of rhyme to emotion.
· It’s also important to look at the words themselves that rhyme - is the poet bringing together expected or unexpected words?
· Are there any half rhymes or slant rhymes?
How is rhythm being used?
· How many syllables does each line have?
· Is the rhythm sustained throughout or does it break down?
· Is it song-like? How does this relate to the meaning of the poem?
· How does punctuation affect the rhythm? Think about the use of caesuras and the positioning of full stops.
What’s the language telling us?
· Are the words polysyllabic or monosyllabic?
· What images are being used?
· Does the tone change? How does the language show this?
· Think about the semantic field – does the language and tone of the semantic field match what is being describe? Is it deliberately discordant?
Let’s talk about...novels:
Think about the narrator:
· Whose point of view are we hearing?
o Is it a third person, detached narrator?
o Are we hearing from the perspective of one of the characters?
o Does this alter our perception of the other characters?
· Is it an interior monologue or stream of consciousness?
· Can we trust the narrator? What do we know of their motives?
What’s the language telling us?
· Look out for imagery (similes, metaphors, personification)
· Is the passage built on an extended metaphor?
· Are there any unexpected words or images that don’t fit with the rest of the scene? What’s the point of this discord?
· Is the language simple or complex? Are the words polysyllabic or monosyllabic?
· Are there any colloquialisms or slang words?
What’s the tone?
· Is the tone disdainful, excited, dismissive, saddened etc. by the scene described?
· Does the tone change throughout? How does the language show this?
· Think about the semantic field – does the language and tone of the semantic field match what is being describe? Is it deliberately discordant?
Who are the characters?
· How are the characters described? Are there any stock characters?
· How do we learn about them, and does this affect our opinion? For example, do we learn about one character through the comments of another?
How is the passage structured?
· Are there paragraphs? If so, are they even in length?
· Are the sentences short or long? What effect does this have?
· Are lists used? Are they linked by polysyndeton (the repeated use of conjunctions with no commas) or asyndeton (no conjunctions e.g. ‘I came, I saw, I conquered’)?
· What’s the chronology of the passage?
· What punctuation is used? Pay particular attention to expressive punctuation like exclamation marks.
Is there any dialogue?
· Is the dialogue balanced? (i.e. is one character talking more or less than the others?)
· If the dialogue isn’t balanced, what does this make you think about the power dynamic of the relationship between the characters?
· A useful term here is ‘conversational turn’.
Focus:
· What is the passage focusing on?
· If it is descriptive, is only one thing described in detail?
· Does focus shift throughout? If so, how, and what is the effect of this?
Let’s talk about...drama:
How is the dialogue structured?
· Is the dialogue balanced? (i.e. is one character talking more or less than the others?)
· If the dialogue isn’t balanced, what does this make you think about the power dynamic of the relationship between the characters? Use the term ‘conversational turn’.
· Look out for questioning between characters – this can be another signal of power structures. Does it seem like an interrogation?
· Are there silences in the text? How does this effect the atmosphere of the passage?
· Are there any exclamations? Textual exclamations offer a big clue as to how lines are delivered, helping you to get a sense of the mood of the extract.
What register is being used?
· What kind of register are the characters speaking in? e.g. is it formal, informal, colloquial...
· What does this tell you about the relationships between the characters?
Type of utterance:
· Monologue – one character speaking.
· Soliloquy – one character speaking, but they are the only one on stage.
· Is there a soliloquy after other characters have left? Does this make us reconsider earlier opinions on characters?
· Are there any asides to the audience? How does this change our understanding of the scene? Does this generate dramatic irony?
Who are the characters:
· How are the characters described? Are there any stock characters?
· How do we learn about them, and does this affect our opinion? For example, do we learn about one character through the comments of another?
· Are there any stage direction descriptions relating to costume or appearance? Does this alter your perceptions of the character?
Stage directions:
· Think about the effect these directions would have for an audience.
· Look at entrances and exits throughout the passage.
· Descriptions of settings – does the description set up any expectations? Are these expectations met or undermined by the action?
· Description of costume – what does this make you think about the character? Are there any particular colours or accessories that could be symbolic?
Space and positioning:
· Is any directive given for where the characters are standing?
· How does this affect the relationships between the characters?
As you embark on your journey as an English student, the task of analysing unseen texts may appear daunting at first glance. The prospect of encountering unfamiliar literature without specific instructions can be overwhelming, leaving you uncertain about where to begin. However, fear not, for with the right approach and guidance, tackling unseen texts can become a rewarding and enriching experience. Throughout this blog, we have provided you with a crib sheet, a valuable resource that equips you with the necessary tools to navigate unseen poetry, prose, or drama with confidence.
By honing your skills in literary analysis and critical thinking, you can unlock the hidden treasures within these unknown passages. Remember to pay attention to the literary techniques you have acquired during your studies, as they serve as invaluable tools for deciphering the deeper meanings and nuances within the text. Whether you are preparing for English examinations or an Oxbridge English interview, the ability to respond to unseen texts showcases your adaptability, intellectual agility, and passion for literature. Embrace the challenge of engaging with the unknown, for it is through these encounters that you can truly demonstrate your aptitude for unraveling the complexities of language and storytelling.
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