Cambridge 9695 Literature in English

Use these 200 Cambridge 9695 Literature in English essay words to analyse poetry, prose and drama, connect a passage to wider reading, and develop an informed interpretation. Each entry includes a meaning and a natural usage example.

Under the 2027–2028 syllabus, AS Level candidates take Paper 1 Drama and Poetry and Paper 2 Prose and Unseen. The full A Level also includes Paper 3 Shakespeare and Drama and Paper 4 Pre- and Post-1900 Poetry and Prose. Each paper lasts two hours and is worth 50 marks.

The 200-word list

1–20 Critical reading across forms · 21–40 Poetry and literary structure · 41–60 Narrative and dramatic choices · 61–80 Patterns, themes and tensions · 81–100 Explaining rhetorical choices · 101–120 Explaining what a choice does · 121–140 From passage detail to personal response · 141–160 Sound and movement · 161–180 Using evidence and reasoning · 181–200 Connecting ideas

Exam requirements · Worked response · Worked analysis · Fencing Method · Practice and FAQs · Revision · Practice workshop

1–20 Critical reading across forms

indeterminacy — the quality of remaining open to more than one reading. the ending preserves indeterminacy.
liminal — at a boundary or transitional point. a liminal setting between home and street.
destabilise — make a belief or interpretation less secure. destabilise the narrator’s explanation.
reconfigure — rearrange how elements relate or are understood. the revelation reconfigures the earlier scene.
withhold — keep information back. the narrator withholds the recipient’s name.
recontextualise — place something in a new context that alters its meaning. the final scene recontextualises the promise.
interiority — a character’s inner life as represented in the work. interiority emerges through memory.
dramatisation — presentation as action or dialogue rather than summary. the dramatisation makes the conflict immediate.
interlocutor — someone taking part in a conversation. the speaker’s silent interlocutor.
apostrophe — direct address to an absent person or something unable to answer. an apostrophe to the river.
diegesis — the narrative world in which events take place. music heard within the diegesis.
metonymy — reference to something through a closely associated thing. the crown as metonymy for monarchy.
synecdoche — use of a part for a whole or a whole for a part. hands standing for workers.
allegory — a sustained representation that carries a further level of meaning. a journey that functions as allegory.
parataxis — placing clauses or phrases side by side with little subordination. parataxis creates an abrupt sequence.
hypotaxis — arrangement through subordination of clauses or phrases. hypotaxis delays the principal statement.
reticence — restraint or reluctance to reveal something. the narrator’s reticence about the departure.
analepsis — a narrative shift to an earlier time. analepsis revisits the promise.
prolepsis — a narrative anticipation of a later event. prolepsis gives the opening a sense of forewarning.
verisimilitude — the appearance of being true or credible. ordinary details create verisimilitude.

21–40 Poetry and literary structure

stanza — a group of lines that forms a unit in a poem. a shift in the final stanza.
enjambment — the continuation of a sentence or phrase across a line break. enjambment delays the object of the verb.
caesura — a strong pause within a line of verse. a caesura interrupts the speaker’s thought.
volta — a turn in a poem’s argument or feeling. the volta introduces doubt.
meter — a patterned arrangement of stresses or other units in verse. a change in meter disrupts the rhythm.
cadence — the rhythmic movement of spoken or written language. a slowing cadence at the close.
rhyme — a correspondence of sounds, commonly at line endings. an unexpected rhyme links two images.
assonance — repetition of similar vowel sounds in nearby words. assonance in low and home.
alliteration — repetition of initial sounds in nearby words. alliteration gives the opening a sharp rhythm.
sibilance — repetition of hissing consonant sounds. sibilance in the description of the wind.
characterisation — the way a work builds a reader’s impression of a character. characterisation through repeated gestures.
lineation — the arrangement of a poem into lines. the lineation delays a key detail.
elegy — a poem of mourning or serious reflection, often after a death. an elegy for a lost friend.
lyric — a poem that often focuses on a speaker’s feeling or perception. a lyric about remembered childhood.
end-stopped — having a grammatical pause or completion at the line ending. an end-stopped line closes the thought.
couplet — a pair of successive lines of verse that forms a unit. the concluding couplet offers a qualification.
refrain — a line or phrase repeated at intervals. the refrain acquires a different meaning.
sonnet — a fourteen-line poem associated with several formal traditions. the sonnet turns from claim to doubt.
scansion — analysis of a verse line’s metrical pattern. scansion reveals a disrupted stress pattern.
prosody — the patterns of rhythm and sound in language or verse. prosody shapes the pace of the poem.

41–60 Narrative and dramatic choices

narrator — the voice that tells a story. an unreliable narrator.
focalisation — the perspective through which events are perceived. focalisation through a child.
perspective — the position or experience from which events are understood. a shift in perspective.
omniscient — able to report knowledge beyond any single character’s view. an omniscient narrative voice.
unreliable — giving an account whose accuracy the reader has reason to question. an unreliable account of the quarrel.
dramaturgy — the construction and organisation of dramatic action. dramaturgy places the revelation near the close.
monologue — an extended speech by one person. the monologue exposes doubt.
soliloquy — a dramatic speech that reveals a character’s private thoughts. a soliloquy before the decision.
aside — a remark conventionally unheard by some characters onstage. an aside lets the audience share the secret.
dialogue — spoken exchange between characters. clipped dialogue signals hostility.
stagecraft — the choices through which a play is presented on stage. stagecraft makes the distance visible.
blocking — the positioning and movement of performers. the blocking keeps the characters apart.
exposition — the presentation of background information. exposition establishes the family conflict.
foreshadowing — a detail that anticipates something later in the work. foreshadowing makes the ending feel prepared.
flashback — a move to an event earlier than the current narrative moment. a flashback revises the reader’s impression.
pacing — the management of speed and emphasis across a work. slower pacing gives weight to the choice.
ellipsis — an omission of material, sometimes including an interval of time. a narrative ellipsis skips the journey.
retrospection — a backward look from a later moment. retrospection changes the meaning of the incident.
protagonist — the main character whose actions or experience drive the work. a protagonist divided by duty.
foil — a character whose contrast brings another character’s qualities into focus. a confident friend acts as a foil.

61–80 Patterns, themes and tensions

motif — a recurring element that gains significance across a work. a motif of unfinished letters.
symbol — an element that carries meanings beyond its immediate role. the locked door becomes a symbol of exclusion.
theme — a recurring concern or idea developed through a work. a theme of divided loyalty.
ambiguity — the possibility of more than one defensible meaning. ambiguity about the speaker’s motive.
ambivalence — mixed or competing feelings about a subject. ambivalence towards returning home.
alienation — a condition of feeling separated from other people or society. the character’s growing alienation.
belonging — a feeling or condition of being accepted as part of a group. a conditional sense of belonging.
agency — the ability to make choices and act. the ending restores some agency.
constraint — a condition that limits available action. financial constraint shapes the decision.
hierarchy — an arrangement in which people or things have different ranks. a hierarchy maintained through silence.
conformity — action that follows accepted expectations. pressure towards conformity.
defiance — open resistance to a rule or expectation. a brief act of defiance.
complicity — involvement in another person’s wrongdoing. silence suggests complicity.
estrangement — a state of growing distant from someone or something. estrangement between siblings.
disillusionment — loss of a belief or hope after encountering contrary experience. a moment of disillusionment.
repression — the suppression of feelings, memories or action. the repression of anger.
reversal — a change to an opposite direction, fortune or position. a reversal in the final scene.
recognition — a moment of identification or understanding. recognition comes after the decision.
resolution — a settling or conclusion of a conflict or pattern. an uneasy resolution.
continuity — a connection or pattern that persists across change. continuity beneath the apparent break.

81–100 Explaining rhetorical choices

diction — word choice considered for its effects. the diction of a legal notice.
syntax — the arrangement of words and phrases within sentences. shorten the syntax.
connotation — a feeling or association a word carries beyond its literal meaning. the connotations of the word home.
denotation — a word’s direct or literal meaning. the denotation of the word vessel.
juxtaposition — placing details near each other so readers notice a relationship or difference. a juxtaposition of two settings.
parallelism — repetition of a similar grammatical pattern. parallelism across three clauses.
anaphora — repetition at the start of successive clauses or sentences. anaphora built around we remember.
antithesis — the balanced placement of opposed ideas. antithesis between promises and results.
analogy — a comparison used to explain a relationship. an analogy to a crowded classroom.
metaphor — a comparison that describes one thing as another. a metaphor of a locked door.
allusion — an indirect reference to something the audience may recognise. an allusion to a founding document.
imagery — language that evokes sensory impressions. imagery of heat and dust.
understatement — deliberately making something seem less important or intense. use understatement to soften criticism.
hyperbole — deliberate exaggeration for emphasis or effect. a deliberate instance of hyperbole.
irony — a meaningful gap between what is stated or expected and what occurs or is meant. the irony of an empty welcome sign.
satire — criticism that exposes faults through ridicule, irony or humour. use satire to expose hypocrisy.
repetition — deliberate recurrence of a sound, word or structure. repetition of the opening phrase.
imperative — a grammatical form used to direct someone to act. an imperative directed at the board.
euphemism — a milder expression substituted for a blunt or uncomfortable one. a euphemism for job cuts.
amplify — make a feature, implication or message stronger or more noticeable. amplify a feeling of urgency.

101–120 Explaining what a choice does

frame — presents an issue through a particular lens. frame the decision as a question of access.
foreground — draws attention to a selected feature or concern. foreground the cost to families.
normalize — presents something as ordinary or expected. normalize asking for help.
legitimize — makes an action or viewpoint seem rightful or acceptable. legitimize a local objection.
humanize — makes a person or group recognisable through individual feelings or experiences. humanize a group through one person’s story.
personalize — connects a general idea to a person’s circumstances. personalize the cost of the proposal.
challenge — calls an existing idea or expectation into question. challenge the audience’s assumptions.
invite — encourages the audience to consider or adopt a response. invite readers to reconsider.
reassure — reduces an audience’s concern or uncertainty. reassure hesitant voters.
pressure — pushes someone towards a choice through expectation or consequence. pressure officials to explain.
unsettle — disturbs an audience’s confidence in an existing belief. unsettle a familiar narrative.
unify — brings different people or ideas into a common group. unify the audience around a goal.
polarize — pushes people or positions further apart. polarize the debate.
exclude — leaves a group or possibility outside the discussion. exclude an alternative viewpoint.
implicate — suggests someone shares responsibility or is involved. implicate officials in the decision.
recast — presents a familiar issue in a new way. recast a delay as a choice.
establish — builds a position, pattern or perception that later choices rely on. establish a shared concern.
sharpen — make a distinction, point or feeling more pronounced. sharpen the contrast between cases.
deflect — moves attention away from a question or criticism. deflect criticism of the proposal.
culminate — reaches a final stage or most important point. culminate in a call to act.

121–140 From passage detail to personal response

passage — a section of writing chosen for close attention. trace a change within the passage.
set — assigned for study in a course or exam. compare moments in the set novel.
discursive — developing a subject through sustained discussion. a discursive essay on the protagonist.
speaker — the voice that speaks in a poem or other text. the speaker reconsiders an earlier belief.
recipient — the person to whom a message is directed. the recipient of the letter remains unnamed.
locate — identify where a detail appears in a work. locate the pause before the reply.
patterning — the arrangement or recurrence of features across a text. sound patterning in the final stanza.
staging — the presentation of action on a stage. staging draws attention to a doorway.
entrance — the arrival of a character onstage. the entrance interrupts the argument.
exit — the departure of a character from a scene. the exit leaves the question unanswered.
gesture — a movement that carries a meaning or reaction. a gesture of reluctance.
tempo — the speed at which action, language or rhythm moves. the tempo slows after the question.
restraint — deliberate holding back of expression or action. restraint makes the grief indirect.
implication — a meaning suggested by a detail or statement. consider the implication of the final silence.
omission — something left out. the omission of the answer prolongs uncertainty.
revelation — the disclosure of something previously hidden or unknown. a late revelation changes the reader’s view.
poise — controlled balance or composure. the speaker’s apparent poise breaks down.
tension — pressure created by opposing forces, possibilities or feelings. tension between sympathy and suspicion.
resonance — an effect or association that continues beyond the immediate moment. the ending gives the image new resonance.
immediacy — a feeling of closeness to a moment or experience. the present tense creates immediacy.

141–160 Sound and movement

murmur — a low continuous sound or quiet voice. a murmur behind the door.
rattle — make a series of short hard knocks. windows rattle in the wind.
clatter — make a loud, irregular succession of hard sounds. trays clatter onto the floor.
scrape — rub a surface with a harsh sound or movement. chairs scrape across tiles.
creak — make a prolonged strained sound under pressure. a stair creaks underfoot.
hiss — produce a long sound like escaping air. steam hisses from a valve.
crackle — make a rapid succession of small sharp sounds. dry leaves crackle.
reverberate — continue sounding through repeated echoes. footsteps reverberate in the stairwell.
muffle — make a sound quieter or less distinct. a scarf muffles her voice.
shrill — high and piercing in sound. a shrill whistle.
shudder — shake suddenly and strongly. the old lift shudders.
lurch — move with a sudden uneven motion. the bus lurches forward.
stagger — move unsteadily as though about to fall. stagger under the weight.
swerve — turn suddenly away from a previous direction. swerve to avoid a cyclist.
veer — change direction or course. veer towards the wall.
surge — move suddenly and powerfully forward. a crowd surges towards the exit.
trickle — flow slowly in a narrow stream or a few drops. water trickles down the drainpipe.
seep — pass slowly through a small opening or porous material. rain seeps under the door.
drift — move slowly without an obvious driving effort. smoke drifts above the roofs.
recede — move back or become less strong or noticeable. the lights recede into the distance.

161–180 Using evidence and reasoning

evidence — information that helps establish a claim. draw on evidence.
example — a specific case that makes a general point clearer. give a concrete example.
illustrate — make an idea clearer through a case or detail. illustrate the difficulty.
demonstrate — show how or why something is true. demonstrate a connection.
substantiate — support a claim with convincing information. substantiate the allegation.
corroborate — provide independent support for an existing account. corroborate the witness’s account.
infer — draw a conclusion from available clues. infer a motive from the wording.
imply — suggest a meaning without saying it directly. imply that change is possible.
interpret — explain what something means in context. interpret a figure in context.
analyse — examine how parts work together. analyse the writer’s choices.
evaluate — judge the strength, quality or value of something. evaluate the proposal.
plausible — reasonable enough to believe given what is known. a plausible explanation.
credible — worthy of belief or trust. a credible source.
relevant — directly connected to the issue being considered. relevant to the question.
sufficient — enough for the purpose or conclusion at hand. sufficient for a limited trial.
representative — typical enough to reflect a larger group. a representative sample.
anecdote — a brief account of a particular incident. open with an anecdote.
limitation — something that restricts what a method or claim can establish. acknowledge a limitation.
contradict — state or show something incompatible with another claim. contradict the earlier finding.
synthesise — combine ideas from separate sources into a new account. synthesise competing accounts.

181–200 Connecting ideas

whereas — introduces a clause that contrasts with another. whereas the first option costs less.
although — introduces a fact that qualifies the main statement. although demand may rise.
however — signals a contrast or change in direction. however, costs remain uncertain.
nevertheless — signals that a point still holds despite a difficulty. nevertheless, the trial could go ahead.
conversely — introduces a contrasting relationship in the reverse direction. conversely, lower demand can free capacity.
similarly — points out a meaningful likeness. similarly, smaller groups need space.
likewise — shows that a similar point applies elsewhere. likewise, evening users need lighting.
consequently — introduces a result of what came before. consequently, the queue grew.
therefore — introduces a conclusion or result that follows. therefore, a trial is justified.
furthermore — adds a supporting point. furthermore, the existing room is free.
specifically — narrows the discussion to a precise detail. specifically, the plan would add two sessions.
instead — signals a replacement or different choice. instead, use the current building.
alternatively — introduces another option. alternatively, change the timetable.
otherwise — indicates what happens under different conditions. book early, otherwise places may fill.
provided — introduces a condition when used with a following clause. provided that staffing is adequate.
despite — introduces something that fails to prevent the main outcome. despite the delay.
unlike — marks a difference between two things. unlike the previous scheme.
respectively — matches items with values in the same stated order. costs were $5 and $8, respectively.
overall — signals a judgement about the whole picture. overall, the benefits are modest.
ultimately — identifies what matters after other factors are considered. ultimately, the decision depends on demand.

What the 9695 essays ask you to do

For the 2027–2028 format, Paper 1 asks for a drama essay and a poetry essay. Paper 2 asks for one response on studied prose and one on previously unseen literary writing. In the set-text sections of these papers, the printed passage option and the broader question call for different starting points. A passage response needs sustained attention to the supplied writing. A whole-work question needs a selection of moments that support a developing answer.

At A Level, Paper 3 covers Shakespeare and another drama text. Paper 4 requires one poetry answer and one prose answer from different period sections. Check the exact set texts and assessment instructions for your examination year. Cambridge’s 2029–2031 update changes parts of the rubric, including explicit wider reading in Paper 1 and Paper 2 passage-based questions and a passage-based answer plus a whole-text answer in Paper 3. The syllabus page links to the relevant versions.

Cambridge International 9695 syllabus page and updates · 2027–2028 syllabus · Cambridge 9695 set-text guidance

Word list · Worked response

A worked passage analysis

Original prose passage. Leon laid the envelope next to the clock. When it struck six, he pushed the envelope farther away. At seven he moved the clock instead. Practice question. How does the writing make Leon’s hesitation increasingly visible?

At first Leon moves the envelope, which makes the act of postponement appear tied to a particular object. The second movement reverses that arrangement. By moving the clock instead, Leon appears to be trying to change the reminder rather than his decision. The repeated time markers establish an expectation of progress, yet the changes are small rearrangements on a table. The contrast between moving time forward and keeping the decision unresolved gives the passage its tension.

The commentary explains a pattern and a departure from it. It keeps the interpretation close to the three sentences. The contents of the envelope remain unknown. In a set-text answer you might know the contents from another scene. Bring that knowledge in only if it changes how the printed moment should be read.

Word list · Exam requirements · Worked analysis

From passage to whole work

Build a whole-work essay about hesitation by selecting three scenes with different functions. An early scene might establish what a character risks by deciding. A later one may show the consequences of delaying. The closing scene might change how the reader interprets the original hesitation. Use the moments to develop a judgement about the work, with a reason why the order matters.

For drama, consider what a performer can do before a line is spoken. A silent look at an envelope can make the object matter before an audience knows why. In a novel, a narrator can give the reader an explanation while leaving another character unaware. These forms distribute knowledge differently. A useful analytical term should let you explain that difference.

Context can help when it explains what a choice means. If a character is expected to defer to an older relative, show how that expectation changes the force of a reply. An account of the historical setting is useful to the extent that it supports a reading of the work.

Word list · Worked response · Fencing Method

How to fence a 9695 analysis word

1. Base. The narrator withholds information. 2. Detail. The narrator withholds the contents of the envelope. 3. Tone. The withheld information makes the scene quietly unsettling. 4. Logic. Withholding the contents keeps the reader’s attention on Leon’s delay and leaves his motive open. 5. Transfer. A play can withhold a character’s answer by ending the scene immediately after the question.

Compare withhold with omit. A missing fact may become significant because the text directs attention to the gap. If a piece of background simply falls outside the story’s focus, describing its absence as deliberate withholding may claim more than the evidence can support.

The eduKate Fencing Method for Vocabulary

Word list · Worked analysis · Practice and FAQs

A poetry and drama transfer workshop

Take the idea of a delayed response into a poem. Imagine the sentence begins I waited for an answer and the next line provides only the sound of a kettle. The lineation creates an expectation that a person will speak. The ordinary sound fulfils the sentence’s movement while leaving the human question open. Try writing the same words as one line and compare when the reader learns what happened.

In a play, place two people in a room and let one wait for an answer. Give the other character an ordinary action, such as moving a chair, before the reply. Describe what an audience can infer from the timing. Then imagine the stage direction removed. Decide which parts of the interpretation still have evidence and which depend on the performer’s action.

Are set texts allowed for the 2027–2028 papers? The syllabus specifies closed-text conditions. Which papers involve unseen literary writing? Paper 2 has an Unseen section. Should I use every technical word I know? Choose the term that clarifies how the evidence works, then explain the effect in a full sentence.

Word list · Fencing Method · Revision

Prepare a passage answer under time pressure

Mark one shift before you begin writing. Give your first paragraph a claim about its effect, then plan a second paragraph that examines a different feature serving or complicating the same effect. Keep one final detail for testing the interpretation. A strong ending returns to the question and explains why the reading accounts for the passage as a whole.

After the attempt, read your paragraph without its technique names. If the reader can still see exactly where an effect comes from, the analysis is doing its job. If removing the term leaves only plot summary, rebuild the paragraph from a short detail and explain what the reader learns, doubts or expects because of it.

Word list · Practice and FAQs

Practice workshop

Track the distribution of knowledge

Find a scene where the audience knows something a character does not. Write a short explanation of how the work creates that gap. A stage action, an aside or an earlier scene can all provide information that the character misses. Explain how the difference changes the force of a later line. Then try the same exercise with a novel that restricts its narration to one character’s perceptions.

Analyse syntax before naming it

Copy two short sentences from a passage into your study notes. Mark the main statement and any subordinate clause. Explain which detail the reader receives first. A long sentence can delay a decision, but length alone does not establish hesitation. Show how the arrangement of its parts affects the reading. Compare it with a shorter sentence elsewhere in the same passage.

Make an unseen interpretation testable

Write one sentence saying what you think the passage makes a reader expect. Choose two details that support it and one that could challenge it. If the challenging detail weakens the reading, qualify the claim. For example, the ending may unsettle confidence in a narrator without proving that the narrator has lied. Let the evidence set the strength of the judgement.

Build a useful wider reference

Suppose a passage gives the first description of a closed gate. Elsewhere a character might close the same gate deliberately. Explain what the later action makes you notice about the earlier description. A relevant reference helps you interpret the specific passage. One that merely repeats a word from the passage may have little bearing on the question.

Prepare a comparison across literary forms

Use a shared question about obligation. In a poem, trace a repeated verb from the opening to the ending. In drama, identify a command that changes when the speaker loses authority. Write one analytical sentence for each. The comparison can help you learn which vocabulary moves across forms and which terms are specific to the medium.

Test the final paragraph

Read your conclusion beside the question. Check that it gives a judgement about the writer’s choices, rather than listing all the terms you used. If the strongest evidence concerns an unresolved motive, explain why uncertainty matters to the passage. If it concerns a structural reversal, state what becomes visible only after that reversal.

Next reading

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Cambridge IGCSE Literature 0475 · IB English A: Literature · Back to the 200-word list

Top 200 Vocabulary Word List for Cambridge International AS & A Level Literature in English (9695) | Essay Writing