English

You have a passion for literature. We have a challenging course that will inspire your reading, and develop your critical and imaginative abilities.

English at Cambridge

Over the centuries, many writers have studied in Cambridge: Spenser, Marlowe, Milton, Wordsworth, Coleridge, Byron, Tennyson, Forster, Plath, Hughes, Byatt and Zadie Smith. When the study of English became established in universities a century ago, the Cambridge course was considered daringly innovative: in valuing literature (and not only language) as an object of study, in studying works right up to the present day, in comparing English with European literature, and in the ‘close reading’ or analysis of unseen passages (which we call ‘practical criticism’).

"Different lecturers cater for a wide range of interests and subjects. There really is something for everyone, and a healthy emphasis on pursuing your own interests that's intellectually liberating." – Camilla

All these approaches still shape our teaching and research, as do ongoing debates – for example, recently about poetic theory, postcolonial writing or 'material' texts. We have no set approach beyond instilling in our students the valuable skills of critical thinking, scholarly rigour and good writing.

The course offers a dynamic balance between a strong grounding in the core of English literature and the chance to specialise or branch out from that core into the literature of other parts of the world, such as the USA or south Asia, other art forms, the English language and related intellectual traditions.

The course

The first two years introduce the full range of English literature from the Middle Ages to the present day, with papers that encourage you to try a little of everything. There are few set texts, so that while you must study widely, you can also focus on topics of interest. Other components develop your skills in practical criticism and in the English language or in literature in a foreign language, each of which puts English literature into a wider perspective.

The third year has another paper in practical criticism, and the ambitious Tragedy paper, which ranges from ancient Greek drama to contemporary writing. Beyond these two intellectually freewheeling papers, you choose various options. Some allow you to specialise, for example on writing under Henry VIII or the modern short story; some introduce other traditions, for instance American or postcolonial writing; or other art forms, such as Shakespeare in performance or visual culture. Finally, you research and write one or two dissertations on any literary topic you choose, bringing your knowledge and skills to fruition.

Teaching and resources

You're taught by some of the most eminent critics, scholars and teachers through lectures, seminars, and small–group supervisions and classes. You typically attend up to 10 hours of lectures or seminars, and have two to six hours of small–group teaching each week. You normally write a short essay for each supervision, which you then discuss with your supervisor as a way into the topic more widely. The Cambridge supervision is a distinct form of teaching; intensive, explorative and led by you.

English students have access to the University Library – one of the world's largest – and the light–filled Faculty library, which houses around 80,000 books, as well as computer facilities, courses and welcoming features such as 'tea at three'. The library is at the heart of our modern Faculty building, which also includes lecture rooms, a drama studio and a lovely garden.

Assessment

There are no formal examinations until the end of the second year, meaning that you can develop your reading, thinking and writing more fully than on a modular course. As well as exams, there's a compulsory dissertation and you can replace three more of the written exams with coursework. Prizes are awarded for the best work. Although the course isn't focused on creative writing, it's possible to submit an original composition of your own, which would then be assessed.

Beyond the course

English students take part in all the sporting, musical, cultural, religious, political and simply sociable activities of student life. As you'd expect, many pursue creative writing and drama. The Judith E Wilson Fund supports the drama studio and our writers in residence, who give workshops. Across the University, there are poetry readings – whether of the distinctive 'Cambridge School' inspired by J H Prynne or otherwise – arts magazines, student journalism and prestigious competitions. Many students dabble in the performing arts, whether adapting the medieval play Mankind, directing Shakespeare for European tours, or performing comedy for the Footlights.

What we are looking for

English students need an intellectual curiosity which makes them glad to try new things – say, Wordsworth's Prelude or South African fiction – and to question in depth. At interviews, we look for independent reading beyond the syllabus, and for independent critical thinking: being able to describe precisely what you've read; asking questions searchingly about it, and why it matters; considering connections between what you know already and what you're only just discovering; and supporting your ideas with careful evidence.

Applicants must have studied English Literature or combined English Language and Literature (if English Literature isn't offered) to A Level/IB Higher Level or equivalent. For their other subjects, many applicants have studied languages and humanities, which can be useful for the course. However, students who have studied the sciences and other subjects also do well.

And after English?

All English students acquire knowledge which enriches their lives forever. Many draw directly on their subject in careers in arts management or information management, or go into academia or teaching, where they share with future students the skills of critical thinking, close reading and good communication.

Those same skills are valued by employers in many other professions too, such as law, the Civil Service, management, industry, accountancy and social work. And, unsurprisingly, many graduates go on to work in the media, theatre, and film – such as Jeremy Paxman, Emma Thompson, Stephen Fry and Sam Mendes – or become poets, novelists and playwrights.

Course outline

Years 1 and 2 Part I A broad range, a solid grounding You take two compulsory papers: English Literature 1300–1550 Shakespeare And you choose five from the following (with most students taking the first four and one other): English Literature 1500–1700 English Literature 1688–1847 English Literature 1830–Present Practical Criticism and Critical Practice European Languages and Literatures English Language for Literature) Early Medieval Literature 1066–1350 It's also possible to replace one or two of these optional papers with coursework (one piece of 4,500 – 6,000 words, and one of 5,000 words) and to 'borrow' papers from the Anglo–Saxon, Norse, and Celtic course.

Year 3 Part II Deeper questions, new areas You take two compulsory papers: Practical Criticism Tragedy You also write a compulsory dissertation (of 6,000 – 7,500 words) and either submit a second dissertation (of 6,000 – 7,500 words) and take one optional paper, or choose two optional papers. The optional papers change regularly but in recent years have included: Dreams and Visions 1066–1500 Literature, Culture and Crisis 1631–1637 Lyric Poetry Modernism and the Short Story Moralists: Philosophy from Plato to Today American Literature Postcolonial Literature History and Theory of Literary Criticism Literature and Visual Culture Contemporary Writing in English It is also possible to ‘borrow’ papers from the Anglo–Saxon, Norse, and Celtic; Classics; or Modern and Medieval Languages courses. The full list of options can be seen on the Faculty‘s website.