Aspects of comedy: Exemplar student
response (AS Paper 2B, Section B)
This resource is an exemplar student response to a Section B question in the
specimen assessment materials for AS Paper 2B.
Paper 2B, Section B, Band 3
Sample question
Explore the view that in Emma, the comedy is most apparent in those moments
of self-discovery experienced by Emma Woodhouse herself.
Remember to include in your answer relevant analysis of Austen's authorial
methods.
Sample response
As misunderstanding is central to comedy, it is arguable that it is the events that
lead up to Emma’s moments of self-discovery are actually more comedic than
the moments themselves. Along the protagonist’s journey to understanding the
depth of her own feelings and mistakes, and this being able to reach comic
resolution, she makes mistakes that have comically dire (although not fatal)
effect on both herself and others.
Comedy is particularly apparent when considering these moments of selfdiscovery in depth, as Emma is forced to come to terms with all of the ways in
which she is actively prevented herself from coming to this discovery, often to
her detriment. Austen employs irony here – many of the mistakes are of Emma’s
own making. A poignant example is when Emma realises, with horror, that
Harriet is actually hoping to be engaged to Mr Knightley. Harriet here becomes
Emma’s “Frankenstein’s monster”, as after all, Emma has actively encouraged
her to come to this judgment, whether it was this judgement she intended or
not. Austen deliberately has Emma attempt to “sneakily plant” an “idea” in
Harriet’s head in lieu of being specific, which leads to the potential for Harriet to
comically misunderstand the entire initial intention. Whilst this instance is a
comic situation, it has a fundamental effect on the plot – as this series of comic
escalation leads up to Emma’s final acceptance of her true love for Mr Knightley.
Some of Emma’s moments of self-discovery are made comic by the manner in
which they are revealed. On more than one occasion the reader sees a small hint
of self-awareness and doubt fall into Emma’s mind, “Can it really be as my
brother imagined? Can it be possible for this man to be beginning to transfer his
affections from Harriet to me?” and then immediately contradict herself “absurd and insufferable!” Comedy arises here through Austen’s use of an
omniscient and seemingly impartial narrator, who adopts Emma’s “stream of
consciousness” style dialogue to heighten the comedy. Comedy is also
heightened for readers by Austen’s structural placing of plot points, as Emma
says this to herself, Austen accesses the reader’s prior knowledge of the
conversation between Mr John Knightley and Emma, in which she gives “a smile
of astonishment” to this comment. The journey of self-discovery escalates in a
tension-filled series of events –Emma’s utter blindness, to doubt, to reconvincing herself, to discovery. The exaggeration of the word “astonishment”
adds to the comedy yet further.
Dramatic irony plays a big role in creating comedy for the readers through
Emma’s self-discovery, as at one point Emma “amuses herself in the
consideration of the blunders which often arise from a partial knowledge of
circumstances” which actually, ironically, she later has to accept is actually a
precise and astute description of what she has created herself! This is brought to
mind when Emma finally realises the truth for herself, and the comedy of it all is
made stronger, as more often than not, the reader will have realised long before
Emma herself, and watched her entangle herself further into comic complication.
A lot of Emma’s moments of self-discovery are aided by other characters.
Similarly, the readers’ realisations are aided by other characters, as Austen
presents touchstone situations in which she allows the reader to compare a
range of judgements side by side – for example with the painting, where the
reader is given Mr Woodhouse’s comically biased view, Mr Knightley’s view, and
Mr Elton’s comically over-exaggerated, superficial and possibly false view of
Emma’s painting. In Chapter 5 the reader learns the other characters’ on the
match between Harriet and Emma, and the reasoning for its unhelpfulness is
perhaps made clearer to the reader than it is to Emma herself, helping to add to
the later dramatic irony. The only one “to speak his mind” and “tell Emma what
he thinks” is Mr Knightley, and many of her realisations are coupled with the
poignantly ironic knowledge that if she’d listened to Mr Knightley, she could have
saved many people a lot of possible anguish and trouble, including herself.
Whilst moments of self-discovery are comic to the reader given the complex
untangling required for Emma to have reached this discovery, they can also be
poignant; for example Emma’s failure to see Frank and Jane’s relationship and
consequent flirting would have inevitably caused Jane pain, as well as her failure
to recognise Mr Elton’s true object of affection causing Harriet pain. However, in
the end, her final self-discovery leads to comic resolution – and enables happy
endings for both her and Harriet, with little lasting harm done.
Examiner commentary
This response makes a range of relevant, straightforward points in relation to
the question. There is an argument offered, and although it isn’t driven through
and lacks the conviction of better responses, it engages with the task and is
written accurately.
The student begins by tackling the debate head on, taking issue with the idea set
up in the task. The initial point offered – that it is the build-up to moments of
self-discovery, rather than the self-discovery itself – shows engagement with the
task and that the student is thinking well. The opening paragraph also
demonstrates a good awareness of comedic context, noting the aspect of
misunderstanding and the genre’s focus on non-fatal resolution of
misunderstandings.
The second paragraph offers a useful example in support of the main view set
up in the task. The example is a relevant one, and although there is a sense of
the irony involved, the focus on the thrust of the task – that the comedy is most
apparent in these moments – is less effective here. It seems that the student has
overlooked comedy a little too: the comedic nature of this moment hasn’t been
identified or explored. The final sentence in this paragraph sees the event in
terms of its place in the narrative and Emma’s central realisation, but the
argument seems oblique. The quality of writing at this point is better than the
direct focus on the debate.
The focus on the task is better in the third paragraph, with a well-chosen
example offered to identify a moment of self-discovery. Although it seems a little
odd that the student hasn’t identified Mr Elton by name here, the point is a good
one, and there is a sense of how Austen’s method of narration and sequencing
helps the comedy emerge. Further explanation may have strengthened this
point. The focus on the word ‘astonishment’ is, as so often the case when
exploring single words, less convincing. By this point in the response, it seems
that the student is selecting relevant examples, writing well, but not really
constructing an argument.
The response continues by making points about Austen’s method and offers
observations about the readers’ awareness, irony, use of character and
placement of events. While these comments have some relevance, there is a
sense that the argument is getting lost a little. Examples of comedic moments in
the novel are given, but they aren’t really directed to the task – the ‘moment of
self-discovery’. It may that the student is offering a counter argument, implying
that it is these other instances (Mr Woodhouse’s views, Mr Elton’s response to
the painting) which are more comedic than Emma’s self-discovery, but the
argument needed stating and signposting to achieve coherence. The conclusion
offers a counter view which isn’t really developed, but it is clear that the student
sees the link between self-discovery and the genre’s conventional movement
towards happiness and avoidance of disaster.
Taken together, the response offers several relevant ideas and shows a good
grasp of comedic context. Examples from the text are well-chosen too and there
is a straightforward response to the task. AO4 and AO5 are being addressed, but
the quality of the argument needed to be more assured to move into Band 4.
The response clearly fulfils the criteria for band 3 however, with lots of relevant
material. The quality of writing and the selection of examples are good too, so a
mark at the top of Band 3 is warranted. This is a good response which suggests
some unrealised potential. The importance of answering the task and engaging
with the debate is paramount in this specification, so while the quality of
expression is good, the argument offered isn’t as effective. Nonetheless, this is a
successful response which fulfils all of the Band 3 criteria.