War Photographer. Comfort and Indifference v Suffering and Pain A reporter’s duty is to tell the...

War PhotographerWar Photographer

War War PhotographPhotograph

erer

Comfort and Indifference v Suffering and Pain

A reporter’s duty is to tell the truth

Rural England vs War Zone

Important points to consider when Important points to consider when reading the poemreading the poem

In order to analyse the poem In order to analyse the poem successfully, we are going to have successfully, we are going to have recap on some poetic techniques.recap on some poetic techniques.

MetaphorsMetaphors

Metaphors are very like similes. Metaphors are very like similes. When we describe something When we describe something

using a metaphor we say using a metaphor we say something something isis something else. something else.

Examples of Examples of MetaphorsMetaphors

““The boy’s eyes were pools of The boy’s eyes were pools of ink.”ink.”

““Time Flies”Time Flies”

Word ChoiceWord Choice

Poets are very particular about the Poets are very particular about the words that they include in their poems. words that they include in their poems. If there is a word there, it is there for If there is a word there, it is there for a reason.a reason. It is these words that help It is these words that help you to gauge to tone of a poem and to you to gauge to tone of a poem and to help you visualise. help you visualise.

PersonificationPersonification PERSONIFICATIONPERSONIFICATION describes a thing or describes a thing or

object as if it is a person, or as having human object as if it is a person, or as having human qualities.qualities.

e.g. The wind whistled through the sails.e.g. The wind whistled through the sails.

The sun treads a path through the woods.The sun treads a path through the woods...

ALLITERATIONALLITERATION

ALLITERATIONALLITERATION is where some words in is where some words in a phrase, or in a line of poetry begin with a phrase, or in a line of poetry begin with the same sound.the same sound.

e.g. Steve e.g. Steve sseldom eldom ssmiled on Sundays.miled on Sundays. SSilently the ilently the sspider pider sspun its pun its ssilken ilken

sstrands. trands.

Tone/MoodTone/Mood

The 'tone' of a poem reveals the The 'tone' of a poem reveals the attitude of the poet being studied attitude of the poet being studied

e.g. anger, love, resignation, e.g. anger, love, resignation, despair, fear, boredom etc.despair, fear, boredom etc.

What next???What next??? You are now going to study the poem in groups and take You are now going to study the poem in groups and take

notes. When you study the poem you should notes. When you study the poem you should look forlook for and and underlineunderline examples of:examples of:

1.1. Figuarative Language:Figuarative Language: Metaphors, Personification. Metaphors, Personification.2.2. AlliterationAlliteration: : How the writer uses soundHow the writer uses sound3.3. CharacterisationCharacterisation:: The way characters are described. Esp The way characters are described. Esp

actions and reactionsactions and reactions4.4. Word ChoiceWord Choice: Interesting or important words used by the : Interesting or important words used by the

poet.poet.5.5. MoodMood being created.being created.

For each example, write down what it makes you think?For each example, write down what it makes you think?

You will have You will have tenten minutes in your groups to minutes in your groups to annotate your given stanza on the copy annotate your given stanza on the copy provided. You must discuss this in your provided. You must discuss this in your groups before you do so.groups before you do so.

You will use these notes to teach the other You will use these notes to teach the other people in the class. people in the class.

By the end of the session you should all By the end of the session you should all have a fully annotated poem.have a fully annotated poem.

JigsawingJigsawing

Teaching GroupsTeaching Groups Now you are going to take on the role of teacher. Now you are going to take on the role of teacher.

You will be rearranged into You will be rearranged into “teaching groups”.“teaching groups”. One person from each “learning group” will form One person from each “learning group” will form

a new group and you will take turns to take share a new group and you will take turns to take share your findings.your findings.

By the end of your time you will know about the By the end of your time you will know about the poem you have been studying. You should add poem you have been studying. You should add your notes to your A4 copy of the poem so that your notes to your A4 copy of the poem so that you will have all of the information that you need you will have all of the information that you need to complete this essay.to complete this essay.

Understand? No? Let’s look at the following slide Understand? No? Let’s look at the following slide and see if it is any clearer.and see if it is any clearer.

Learning Groups Teaching Groups

Summary of the poem…Summary of the poem… The poem details the inner conflict within a war The poem details the inner conflict within a war

photographer as he returns home to rural photographer as he returns home to rural England after an assignment. England after an assignment.

Throughout the poem the photographer Throughout the poem the photographer struggles to contain his feelings as the horrors struggles to contain his feelings as the horrors he has witnessed resurface in his everyday life. he has witnessed resurface in his everyday life.

The purpose of the poem is to demonstrate the The purpose of the poem is to demonstrate the suffering and devastation, both physically and suffering and devastation, both physically and emotionally, caused by war.emotionally, caused by war.

THEMESTHEMES In her poem Duffy deals with various themes, In her poem Duffy deals with various themes,

however the two which are most prominent are:however the two which are most prominent are:

•• Effects of WarEffects of War •• Death Death

Duffy uses a wide range of techniques in her Duffy uses a wide range of techniques in her poem in order to demonstrate these themes. poem in order to demonstrate these themes. She uses the main character of the She uses the main character of the photographer to convey the trauma caused by photographer to convey the trauma caused by witnessing such intense human suffering. witnessing such intense human suffering.

Rhyme schemeRhyme schemeThe form of the poem will be important. That is how it is The form of the poem will be important. That is how it is

set out. set out.

For example ‘War Photographer’ has four six line stanzas For example ‘War Photographer’ has four six line stanzas with a regular rhyme scheme. In this way it looks very with a regular rhyme scheme. In this way it looks very ordered. ordered.

However, within the poem there are a variety of sentence However, within the poem there are a variety of sentence structures which makes the poem seem very chaotic.structures which makes the poem seem very chaotic.

Character – The Character – The PhotographerPhotographer

The main character in Duffy’s poem is anonymous; he is an The main character in Duffy’s poem is anonymous; he is an observer of his surroundings. He is not so much a particular observer of his surroundings. He is not so much a particular individual as, like the poet, an observer and recorder of others' individual as, like the poet, an observer and recorder of others' lives. lives.

He is an outsider ("alone/With spools of suffering") who moves He is an outsider ("alone/With spools of suffering") who moves between two worlds but is comfortable in neither.between two worlds but is comfortable in neither.

The "ordered rows" of film spools may suggest how the The "ordered rows" of film spools may suggest how the photographer tries to bring order to what he records, to interpret photographer tries to bring order to what he records, to interpret or make sense of it. He clearly takes his job very seriously and or make sense of it. He clearly takes his job very seriously and feels he has a duty to stand up for those who cannot help feels he has a duty to stand up for those who cannot help themselves. themselves.

What to take from this What to take from this poem…poem…

Duffy obviously feels something in common with her Duffy obviously feels something in common with her subject - she uses the photographer’s experience to subject - she uses the photographer’s experience to voice her own criticism of how comfortable Britons voice her own criticism of how comfortable Britons look at pictures of suffering, but do not know the look at pictures of suffering, but do not know the reality. reality.

She sees the photographer (far removed from the She sees the photographer (far removed from the paparazzi of the tabloids) as both priest and journalist. paparazzi of the tabloids) as both priest and journalist.

The reader's response to the Sunday newspaper is The reader's response to the Sunday newspaper is almost like going to church - for a while we are almost like going to church - for a while we are reminded of our neighbour's suffering, but by reminded of our neighbour's suffering, but by lunchtime we have forgotten what we learned. lunchtime we have forgotten what we learned.

Sentence structureSentence structure

In the first stanza the last line has four In the first stanza the last line has four sentences:sentences:

““Belfast. Beirut. Phnom Penh. All flesh is grass.”Belfast. Beirut. Phnom Penh. All flesh is grass.”

This has the effect of making us stop and This has the effect of making us stop and think about the places he has been. But think about the places he has been. But also the short sharp sentences are like also the short sharp sentences are like bullets being fired by the poet.bullets being fired by the poet.

EnjambmentEnjambment

The running over of a sentence from one line The running over of a sentence from one line of poetry into the next:of poetry into the next:

““Solutions slop in traysSolutions slop in traysbeneath his hands which did not tremble thenbeneath his hands which did not tremble thenThough seem to now.”Though seem to now.”

““Home againHome againto ordinary pain which simple weather can dispel,to ordinary pain which simple weather can dispel,to fields which don’t explode beneath the feet of running to fields which don’t explode beneath the feet of running

children in a nightmare heat.”children in a nightmare heat.”

Enjambment – why?Enjambment – why?

The poet has used this technique in her poem to The poet has used this technique in her poem to emphasis the chaos in which the war emphasis the chaos in which the war photographer works.photographer works.

The poem appears to be set out in ordered The poem appears to be set out in ordered stanzas but inside each verse the sentence stanzas but inside each verse the sentence structure is very mixed. This echoes the structure is very mixed. This echoes the photographers life where he tries to be photographers life where he tries to be organised but his job is very unpredictable. He organised but his job is very unpredictable. He does not know what will happen next.does not know what will happen next.

War Photographer – Verse 1War Photographer – Verse 1

1) In his darkroom he is finally alone1) In his darkroom he is finally alone

2) with spools of suffering set out in ordered rows.2) with spools of suffering set out in ordered rows.

3) The only light is red and softly glows,3) The only light is red and softly glows,

Place of peace and tranquillity. Safe from the dangers of the Place of peace and tranquillity. Safe from the dangers of the other half of his workother half of his work

Alliteration/Metaphor. Alliteration/Metaphor. The harsh S sound reminds us of the harsh world he operates The harsh S sound reminds us of the harsh world he operates in. in. PersonificationPersonification - We know that spools can’t suffer but the images that they hold are - We know that spools can’t suffer but the images that they hold are of suffering. Therefore the once the spools are developed they bring the suffering to of suffering. Therefore the once the spools are developed they bring the suffering to lifelife.

““Ordered” – He is Ordered” – He is trying to make trying to make sense of things. sense of things.

The spools are also The spools are also compared to compared to soldiers – dead or soldiers – dead or alive - as they are alive - as they are “set out in ordered “set out in ordered rows.” Image of rows.” Image of mass graves, film mass graves, film becomes a gravebecomes a grave

Photographer is Photographer is an outsider, floats an outsider, floats between both between both worlds.worlds.

‘‘Red’ – Room is lit like a church ‘Sanctuary Red’ – Room is lit like a church ‘Sanctuary lamp.’ Also connotations of blood.lamp.’ Also connotations of blood.


4) as though this were a church and he4) as though this were a church and he

5) a priest preparing to intone a mass.5) a priest preparing to intone a mass.

6) Belfast. Beirut. Phnom Penh. All flesh is 6) Belfast. Beirut. Phnom Penh. All flesh is grass.grass.

The purpose of this The purpose of this imageimage in ‘War Photographer’ is to emphasis how important his job is. The war in ‘War Photographer’ is to emphasis how important his job is. The war photographer provides an important service to society. The process of developing these images photographer provides an important service to society. The process of developing these images is compared to a religious ceremony. is compared to a religious ceremony. Simile Simile - How he sees himself and his mission – to show the - How he sees himself and his mission – to show the truth, to convert people. He stands up for people who can’t stand up for themselves.truth, to convert people. He stands up for people who can’t stand up for themselves.

Idea of a priest saying a mass in a chanting/preaching tone for effect and praise. In the similar Idea of a priest saying a mass in a chanting/preaching tone for effect and praise. In the similar way a priest prepares for a funeral mass, remembering the dead, the photographer prepares his way a priest prepares for a funeral mass, remembering the dead, the photographer prepares his photographs as a remembrance of those who died in his pictures.photographs as a remembrance of those who died in his pictures.

Shows the extent of unrest in the world – trouble is Shows the extent of unrest in the world – trouble is everywhere. everywhere. AlliterationAlliteration - Idea of camera winding - Idea of camera winding on, images go past as he remembers them. on, images go past as he remembers them.

The poet is comparing the environment of the ‘darkroom’ to the inside of a The poet is comparing the environment of the ‘darkroom’ to the inside of a church. This suggests it is an important place or a place of quiet where you church. This suggests it is an important place or a place of quiet where you would go to reflectwould go to reflect

MetaphorMetaphor from the Old from the Old Testament (Isaiah). Idea that Testament (Isaiah). Idea that life is short, even shorter in life is short, even shorter in the war zones he visitsthe war zones he visits


7) He has a job to do. Solutions slop in trays7) He has a job to do. Solutions slop in trays

8) beneath his hands which did not tremble then8) beneath his hands which did not tremble then

9) though seem to now. Rural England. Home again9) though seem to now. Rural England. Home again

Metaphor/AlliterationMetaphor/Alliteration. Actual sound of the work lets us imagine being there. "Solutions" . Actual sound of the work lets us imagine being there. "Solutions" refers literally to the developing fluid in the trays, but also suggests the idea of solving the refers literally to the developing fluid in the trays, but also suggests the idea of solving the political problems which cause war - "solutions" which he does not have, of course.political problems which cause war - "solutions" which he does not have, of course.

Sentence structure through the short sentence Sentence structure through the short sentence -Shows he is Professional, -Shows he is Professional, putting his feelings to one side to take a good picture. putting his feelings to one side to take a good picture.

The man is now working in a familiar part of the world which is peaceful by comparison to the places The man is now working in a familiar part of the world which is peaceful by comparison to the places mentioned above. Gives the impression of mentioned above. Gives the impression of idyllic settingidyllic setting. The word 'Rural' stands out as it creates the . The word 'Rural' stands out as it creates the image of an idealised England that is covered in perfect countryside that is pure and has beautiful image of an idealised England that is covered in perfect countryside that is pure and has beautiful views. It suggests that England is peaceful place in comparison with the panic and chaos of war.views. It suggests that England is peaceful place in comparison with the panic and chaos of war.

Contrast Contrast with calmness taking photos and his panic/emotional (post traumatic with calmness taking photos and his panic/emotional (post traumatic stress?) state (shaking hands) when developing them. stress?) state (shaking hands) when developing them.


10) to ordinary pain which simple weather 10) to ordinary pain which simple weather can dispel,can dispel,

11) to fields which don't explode beneath 11) to fields which don't explode beneath the feetthe feet

12) of running children in a nightmare 12) of running children in a nightmare heat.heat.

This quotation once again shows the effect of war on the photographer’s mental state. He struggles to This quotation once again shows the effect of war on the photographer’s mental state. He struggles to adapt back into “normal” life having witnessed such horrors. The war has made everyday life seem adapt back into “normal” life having witnessed such horrors. The war has made everyday life seem meaningless and trivial in comparison to the suffering experienced by others.meaningless and trivial in comparison to the suffering experienced by others.

Again, emphasises safety and peaceful life at home, shocking image, contrast with the Again, emphasises safety and peaceful life at home, shocking image, contrast with the violence abroad. violence abroad. Deliberately shocking image - Emotive Deliberately shocking image - Emotive - The innocent always suffer - The innocent always suffer mentions children’s feet not soldiers feet, more effective, again emphasises the danger mentions children’s feet not soldiers feet, more effective, again emphasises the danger of the places he has visited, even the young and innocent are unsafe.of the places he has visited, even the young and innocent are unsafe.

OnomatopoeiaOnomatopoeia - is only used once in ‘War Photographer’ with ‘explode’. This because the - is only used once in ‘War Photographer’ with ‘explode’. This because the poem is set in the quiet and solitude of the ‘darkroom’. poem is set in the quiet and solitude of the ‘darkroom’.

The use of sentence structure ‘Home Again’ helps to The use of sentence structure ‘Home Again’ helps to emphasise the contrast the poet is creating between mundane emphasise the contrast the poet is creating between mundane life back in leafy England and the shocking reality of a war life back in leafy England and the shocking reality of a war zone.zone.


13) Something is happening. A stranger's 13) Something is happening. A stranger's featuresfeatures

14) faintly start to twist before his eyes,14) faintly start to twist before his eyes,

15) a half formed ghost. He remembers the 15) a half formed ghost. He remembers the criescries

Sentence Structure - Sentence Structure - A short direct sentence Why “something” ? Does he A short direct sentence Why “something” ? Does he understand what it is ? Creates tension, anticipation.understand what it is ? Creates tension, anticipation.

What "is happening" in the third stanza is that an image What "is happening" in the third stanza is that an image is gradually appearing as a photo develops. is gradually appearing as a photo develops.

"Ghost" is ambiguous (it has a double meaning). "Ghost" is ambiguous (it has a double meaning). It suggests the faint emerging image, but It suggests the faint emerging image, but also that the man in the photo is dead (which is why the picture was taken). also that the man in the photo is dead (which is why the picture was taken).

The incident haunts him. The The incident haunts him. The photographer recalls the reaction of the photographer recalls the reaction of the wife on seeing her husband diewife on seeing her husband die..

Duffy’s use of imagery here is particularly shocking and Duffy’s use of imagery here is particularly shocking and clearly highlights the consequences of war. The memories clearly highlights the consequences of war. The memories the photographer is reliving have clearly traumatised him the photographer is reliving have clearly traumatised him as he details the atrocities he witnessed. This shows the as he details the atrocities he witnessed. This shows the effects of war on both the living (the photographer) and the effects of war on both the living (the photographer) and the dead (the dead man).dead (the dead man).


16) of this man's wife, how he sought approval16) of this man's wife, how he sought approval

17) without words to do what someone must17) without words to do what someone must

18) and how the blood stained into foreign dust.18) and how the blood stained into foreign dust.

He remembers the death of a man and the picture he had taken with the unspoken permission He remembers the death of a man and the picture he had taken with the unspoken permission of the man’s wife (either there is no time or he does not speak the language or both) . of the man’s wife (either there is no time or he does not speak the language or both) . Morally Morally questionable? But necessary as the photographer/wife want people to know.questionable? But necessary as the photographer/wife want people to know.

Emphasises the troubles are happening elsewhere. ‘Foreign’ that we will forget the world’s Emphasises the troubles are happening elsewhere. ‘Foreign’ that we will forget the world’s troubles because they are not ours! Imagery - Blood is cheap in these places. It is often troubles because they are not ours! Imagery - Blood is cheap in these places. It is often spilled.spilled.

The word ‘Stained’ The word ‘Stained’ suggests the blood will leave a mark on the ground when it dries. It will suggests the blood will leave a mark on the ground when it dries. It will also leave an eternal mark on the memory of the photographer, who will never forget the also leave an eternal mark on the memory of the photographer, who will never forget the traumatic image of the dead man; it will be ingrained in his mind.traumatic image of the dead man; it will be ingrained in his mind.


19) A hundred agonies in black-and-white19) A hundred agonies in black-and-white

20) from which his editor will pick out five or six20) from which his editor will pick out five or six

21) for Sunday's supplement. The reader's 21) for Sunday's supplement. The reader's eyeballs prickeyeballs prick

The The word choice word choice of “agonies” clearly demonstrates the effects of of “agonies” clearly demonstrates the effects of war on peoples’ lives. This word shows the suffering and pain war on peoples’ lives. This word shows the suffering and pain caused by violence.caused by violence.

Once again Duffy’s words have double meaning when she uses “black and white”. On one level they could Once again Duffy’s words have double meaning when she uses “black and white”. On one level they could refer to the black and white photographs the photographer has just developed. However, they could also refer to the black and white photographs the photographer has just developed. However, they could also refer to black and white as a symbol for good and evil. Also, Duffy seems to be suggesting the importance of refer to black and white as a symbol for good and evil. Also, Duffy seems to be suggesting the importance of telling the truth in “black and white”.telling the truth in “black and white”.

A newspaper supplement gives additional news that is not used in the main headlines or newspaper itself. It A newspaper supplement gives additional news that is not used in the main headlines or newspaper itself. It suggests that the pictures are of secondary importance (only ‘five or six’ are picked out), not significant enough suggests that the pictures are of secondary importance (only ‘five or six’ are picked out), not significant enough to make the main headline and not interesting enough to the reader who doesn’t really care enough to to make the main headline and not interesting enough to the reader who doesn’t really care enough to remember their important message. remember their important message.


22) with tears between the bath and pre-lunch 22) with tears between the bath and pre-lunch beers.beers.

23) From the aeroplane he stares impassively 23) From the aeroplane he stares impassively at whereat where

24) he earns his living and they do not care.24) he earns his living and they do not care.

Very cynical tone Very cynical tone is conveyed from these lines. Duffy is suggesting that although the is conveyed from these lines. Duffy is suggesting that although the images may evoke some sympathy from the reader’s this sympathy is short lived. images may evoke some sympathy from the reader’s this sympathy is short lived.

Duffy is critical of our indifference, she is suggesting the selfishness and self absorption of Duffy is critical of our indifference, she is suggesting the selfishness and self absorption of society as these people’s suffering is not as important as their “pre-lunch beers”.society as these people’s suffering is not as important as their “pre-lunch beers”.

There is a feeling of sympathy/admiration for the photographer as he continues to share the suffering of There is a feeling of sympathy/admiration for the photographer as he continues to share the suffering of the helpless despite the lack of compassion and indifference (to distant to have an effect) of society.the helpless despite the lack of compassion and indifference (to distant to have an effect) of society.

The photographer and Duffy’s feelings towards society are clearly demonstrated in these final The photographer and Duffy’s feelings towards society are clearly demonstrated in these final lines. There is a sense of pointlessness as the photographer leaves on another assignment lines. There is a sense of pointlessness as the photographer leaves on another assignment knowing full well that those who will see his images “do not care”. knowing full well that those who will see his images “do not care”.

Discussion Point…Discussion Point…

Describe a memorable journey you Describe a memorable journey you have taken that has had a significant have taken that has had a significant impact on changing you as a person? impact on changing you as a person?

Describe where you went, who you Describe where you went, who you went with, why did you go etc.went with, why did you go etc.

Also, describe how that journey had a Also, describe how that journey had a lasting impact on you as person and lasting impact on you as person and has led you to change in some way?has led you to change in some way?

OriginallyOriginally

OriginallyOriginally

She describes both the literal details of the journey and the move as well as the deeper, metaphorical journey that she and her family experienced as a result of this decision.

Perhaps the most significant line of the poem comes at the start of stanza two when she asserts that “All childhood is an emigration”, revealing clearly the universal truth that the process of growing up is always synonymous with change.

Duffy considers and explores the sense of isolation and confusion felt when as a child her parents moved from the Gorbals in Glasgow to England


Form and StructureForm and Structure Like much of Duffy’s work, the poem has a regular Like much of Duffy’s work, the poem has a regular

structure. structure. The three stanzas of eight lines help to divide the The three stanzas of eight lines help to divide the

poem into a straightforward chronology: poem into a straightforward chronology:

Stanza 1 recalls the journey from Glasgow towards Stanza 1 recalls the journey from Glasgow towards her new home; her new home;

Stanza 2 explores her initial sense of not fitting in to Stanza 2 explores her initial sense of not fitting in to this new landscape while in the third she considers the this new landscape while in the third she considers the larger question about how our sense of identity is larger question about how our sense of identity is formed, shaped and affected by such transitions. formed, shaped and affected by such transitions.

Form and Structure Form and Structure ContinuedContinued

However, underneath this apparently ordered However, underneath this apparently ordered structure, the poet’s anxiety and uncertainty is structure, the poet’s anxiety and uncertainty is revealed through the lack of a regular rhythm or rhyme revealed through the lack of a regular rhythm or rhyme scheme which reinforces the lack of order in her own scheme which reinforces the lack of order in her own life at this time. life at this time.

The fact that the poem is mainly composed by of a The fact that the poem is mainly composed by of a series of fragmented memories, occasionally using series of fragmented memories, occasionally using deliberately childish words or phrases is reminiscent of deliberately childish words or phrases is reminiscent of the way most of us recall our own childhoods and the way most of us recall our own childhoods and adds to the authenticity of the poem.adds to the authenticity of the poem.

ThemesThemes In this poem, Duffy reveals the importance of early In this poem, Duffy reveals the importance of early

childhood memories and experiences in shaping childhood memories and experiences in shaping identity and also considers the impact of significant identity and also considers the impact of significant domestic changes during the formative years. domestic changes during the formative years.

It is clear that even though Duffy was only six when It is clear that even though Duffy was only six when

she moved to England, her sense of Scottishness has she moved to England, her sense of Scottishness has stayed with her.stayed with her.

However, this affinity has resulted in a sense of However, this affinity has resulted in a sense of

confusion about her own identity and where she confusion about her own identity and where she belongs and the poem is her own attempt to define belongs and the poem is her own attempt to define more precisely where her true origins lie. more precisely where her true origins lie.

Themes ContinuedThemes Continued

Although asserting that all childhoods involve Although asserting that all childhoods involve change and transition, she feels a distinct pull change and transition, she feels a distinct pull towards this country that she left so young and towards this country that she left so young and there is a definite feeling of loss running there is a definite feeling of loss running through the poem.through the poem.

In recalling how easily her brothers were able to In recalling how easily her brothers were able to

adapt she emphasises her own sense of adapt she emphasises her own sense of separateness.separateness.

Verse 1Verse 1

1) We came from our own country in a red room1) We came from our own country in a red room

2) which fell through the fields, our mother singing2) which fell through the fields, our mother singing

3) our father's name to the turn of the wheels.3) our father's name to the turn of the wheels.

4) My brothers cried, one of them bawling 4) My brothers cried, one of them bawling HomeHome,,

Alliteration / metaphor Alliteration / metaphor The The colour red colour red has connotations of passion or anger, perhaps reflecting her has connotations of passion or anger, perhaps reflecting her own feelings about being forced to leave the city of her birth and early childhood. Womb image?own feelings about being forced to leave the city of her birth and early childhood. Womb image?

Duffy emphasises that this decision impacted on her entire family unit through the Duffy emphasises that this decision impacted on her entire family unit through the first person plural first person plural in the in the opening line:opening line:

The word choice and The word choice and alliterationalliteration of “fell” and “fields” emphasises her feelings of impotence, the of “fell” and “fields” emphasises her feelings of impotence, the speed of change and lack of control in the making of this important decision. speed of change and lack of control in the making of this important decision.

AssonanceAssonance of “our own” highlights sense of ownership / of “our own” highlights sense of ownership / reinforces her definite sense of belonging to a particular place.reinforces her definite sense of belonging to a particular place.

Brothers emotions seem to reflect her own: they “cried”/“bawling Home”. Brothers emotions seem to reflect her own: they “cried”/“bawling Home”.

Ambiguous ‐ Ambiguous ‐ is she praying or is the children's father missing? Or is he there in the car with them?is she praying or is the children's father missing? Or is he there in the car with them?

First few lines create an First few lines create an upbeat atmosphere / mood upbeat atmosphere / mood which is contrasted later on when the children's which is contrasted later on when the children's reactions are described.reactions are described.

Verse 1Verse 1

5) Home5) Home, as the miles rushed back to the city,, as the miles rushed back to the city,

6) the street, the house, the vacant rooms6) the street, the house, the vacant rooms

7) where we didn't live any more. I stared7) where we didn't live any more. I stared

8) at the eyes of a blind toy, holding its paw.8) at the eyes of a blind toy, holding its paw.

TheThe repetition repetition and and capitalisationcapitalisation of the word “home” reinforces the misery and of the word “home” reinforces the misery and overwhelming sense of loss and separation that she associates with this time. overwhelming sense of loss and separation that she associates with this time.

Again, the Again, the first person plural first person plural of “we” emphasises that even though this poem is written from her own perspective, of “we” emphasises that even though this poem is written from her own perspective, she very clearly considers the impact of the move not just as an individual but for the rest of the family. she very clearly considers the impact of the move not just as an individual but for the rest of the family.

Duffy uses Duffy uses personificationpersonification to emphasise her own desire to return to Glasgow, to emphasise her own desire to return to Glasgow, to reverse this trip and reinhabit to reverse this trip and reinhabit

Again sense of speed / things happening out‐with control conveyed by Again sense of speed / things happening out‐with control conveyed by personificationpersonification

Structure -Structure - use of a list to convey how much has been left behind use of a list to convey how much has been left behind

enjambmenenjambment t //italics italics used forused foremphasisemphasis

In contrast to her younger siblings, whose protestations are loud and vocal, Duffy is silent as she “stared/ at the In contrast to her younger siblings, whose protestations are loud and vocal, Duffy is silent as she “stared/ at the eyes of a blind toy”. The eyes of a blind toy”. The word choice word choice of “blind” again exposes her uncertainty and anxiety as they head towards of “blind” again exposes her uncertainty and anxiety as they head towards something unknown and unfamiliar.something unknown and unfamiliar.

Verse 2Verse 2

9) All childhood is an emigration. Some are slow,9) All childhood is an emigration. Some are slow,

10) leaving you standing, resigned, up an avenue10) leaving you standing, resigned, up an avenue

11) where no one you know stays. Others are sudden.11) where no one you know stays. Others are sudden.

12) Your accent wrong. Corners, which seem familiar,12) Your accent wrong. Corners, which seem familiar,

Having the “wrong” accent conveys how communication and acceptance is much more complex Having the “wrong” accent conveys how communication and acceptance is much more complex than merely speaking the same language.than merely speaking the same language.

The The word choice word choice of “seem” and “unimagined” (next slide) exposes her inability to negotiate her of “seem” and “unimagined” (next slide) exposes her inability to negotiate her way successfully through this new, strange and unfamiliar landscape. . way successfully through this new, strange and unfamiliar landscape. .

Structure – Structure – The first lines of the stanza; the elongated, drawn out phrasing of the first 3 lines emphasises The first lines of the stanza; the elongated, drawn out phrasing of the first 3 lines emphasises the “slow” stages of childhood - relates to idea of slow changethe “slow” stages of childhood - relates to idea of slow change

Structure – Structure – Contrast - Contrast - Short abrupt sentences relate to this type of change provides a contrast with the earlier Short abrupt sentences relate to this type of change provides a contrast with the earlier lines.lines.

Metaphor - Metaphor - The most memorable words in the poem. Duffy considers the wider, experience of childhood itself The most memorable words in the poem. Duffy considers the wider, experience of childhood itself which, by definition is equated with changes (a journey) and transitions that are often beyond our control. which, by definition is equated with changes (a journey) and transitions that are often beyond our control.

Verse 2Verse 2

13) leading to unimagined, pebble dashed estates, 13) leading to unimagined, pebble dashed estates, big boysbig boys

14) eating worms and shouting words you don't 14) eating worms and shouting words you don't understand.understand.

15) My parents' anxiety stirred like a loose tooth15) My parents' anxiety stirred like a loose tooth

in my head.in my head.

16) 16) I want our own countryI want our own country, I said., I said.

The italicisation The italicisation here reminds us again of the autobiographical nature of the poem and is a reference back to here reminds us again of the autobiographical nature of the poem and is a reference back to the first line of stanza one. Acts like a the first line of stanza one. Acts like a childish lament, childish lament, perhaps one that was constantly repeated during this perhaps one that was constantly repeated during this upsetting transition and reminds us, like the words “big boys” used earlier, how young Duffy was when this event upsetting transition and reminds us, like the words “big boys” used earlier, how young Duffy was when this event occurred.occurred.

This is an This is an interesting simile interesting simile since while it emphasises that her parents too are struggling with aspects of the since while it emphasises that her parents too are struggling with aspects of the move, their fears are not enough to provoke a strong reaction – a loose tooth can easily fall out of its own move, their fears are not enough to provoke a strong reaction – a loose tooth can easily fall out of its own accordaccord

The initial optimism of her mother in the first stanza has been replaced with an “anxiety” that “stirred like a loose The initial optimism of her mother in the first stanza has been replaced with an “anxiety” that “stirred like a loose tooth.”tooth.”

Word choice - Word choice - This line underpins her sense of confusion as This line underpins her sense of confusion as she is confronted by behaviour and language that is alien to she is confronted by behaviour and language that is alien to her. her.

Word choice – ‘Unimagined’ - Word choice – ‘Unimagined’ - Sense of confusion / uncertainty / not knowing and fitting in is conveyed.Sense of confusion / uncertainty / not knowing and fitting in is conveyed.

Aggressive impression of the strange boysAggressive impression of the strange boys

Verse 3Verse 3

17) But then you forget, or don't recall, or change,17) But then you forget, or don't recall, or change,

18) and, seeing your brother swallow a slug, feel only18) and, seeing your brother swallow a slug, feel only

19) a skelf of shame. I remember my tongue19) a skelf of shame. I remember my tongue

20) shedding its skin like a snake, my voice20) shedding its skin like a snake, my voice

Use of old Scottish dialect - Use of old Scottish dialect - Reveals that she still feels attached to her Scottish roots unwilling to fully Reveals that she still feels attached to her Scottish roots unwilling to fully relinquish the last traces of her Scottish dialect. While her brothers have successfully adapted, she still feels relinquish the last traces of her Scottish dialect. While her brothers have successfully adapted, she still feels out of place and like a splinter, memories of her former life continue to trouble her. out of place and like a splinter, memories of her former life continue to trouble her.

Refers back to the boys eating worms in the second stanza and implies that this act is evidence that he has fully Refers back to the boys eating worms in the second stanza and implies that this act is evidence that he has fully assimilated to his new home, the simple assimilated to his new home, the simple alliterationalliteration indicating that this was a straightforward process for him. indicating that this was a straightforward process for him.

She uses the She uses the 2nd person 2nd person “you forget, or don’t recall” to directly expose the often fragile nature of childhood “you forget, or don’t recall” to directly expose the often fragile nature of childhood memory. The speaker in this stanza is older and more reflective as she considers her own gradual transition. memory. The speaker in this stanza is older and more reflective as she considers her own gradual transition. Structure - Structure - emphasises change being difficult to pinpoint / defineemphasises change being difficult to pinpoint / define

The final stanza opens with the The final stanza opens with the conjunctive conjunctive “But” to indicate a change in the writer’s line of thought as she “But” to indicate a change in the writer’s line of thought as she meditates on the inevitability of change and adaptation. meditates on the inevitability of change and adaptation.

Simile Simile - to convey idea of change again leaving the old behind and adapting to suit the new. - to convey idea of change again leaving the old behind and adapting to suit the new.

Verse 4Verse 4 21) in the classroom sounding just like the rest. Do I 21) in the classroom sounding just like the rest. Do I

only thinkonly think

22) I lost a river, culture, speech, sense of first space22) I lost a river, culture, speech, sense of first space

23) and the right place? Now, 23) and the right place? Now, Where do you come Where do you come from?from?

24) strangers ask. 24) strangers ask. Originally? Originally? And I hesitate.And I hesitate.

Structure - Lists Structure - Lists all the things she thinks she may have lost ‐ but poses it as a question again highlighting all the things she thinks she may have lost ‐ but poses it as a question again highlighting uncertainty, not near a resolution. uncertainty, not near a resolution. Rhetorical questions Rhetorical questions = = hesitation – mimes Duffy’s crisis of identityhesitation – mimes Duffy’s crisis of identity

Here she challenges both herself and us to consider our own notions of self and Here she challenges both herself and us to consider our own notions of self and identity. identity.

Definite implication that despite these outward signs that she had adapted she continues to feel out of place.Definite implication that despite these outward signs that she had adapted she continues to feel out of place.

The deliberate The deliberate inversioninversion of the “I only” again emphasises her feelings of of the “I only” again emphasises her feelings of isolation and separateness from the other members of her family at this timeisolation and separateness from the other members of her family at this time

Structure-Final abrupt sentence- Structure-Final abrupt sentence- RevealsReveals that the poet is no closer to defining her identity. When asked the that the poet is no closer to defining her identity. When asked the final question she still has to qualify and clarify this simple query with the response “Originally?” This momentary final question she still has to qualify and clarify this simple query with the response “Originally?” This momentary hesitation reveals that even though older, the speaker continues to have mixed feeling about her true origins.hesitation reveals that even though older, the speaker continues to have mixed feeling about her true origins.

Two very different questions ‐ is where you come from the same as your original home?Two very different questions ‐ is where you come from the same as your original home?

ValentineValentine

Discussion PointDiscussion PointJust Imagine. . .Just Imagine. . .

It is Valentine’s Day. There is a special It is Valentine’s Day. There is a special someone you would love to get a card or someone you would love to get a card or romantic gift from. You wake up, full of romantic gift from. You wake up, full of anticipation for the most romantic day of anticipation for the most romantic day of the year. . . .the year. . . .

What springs to mind when you think of What springs to mind when you think of Valentine gifts and cards?Valentine gifts and cards?

What are you hoping the postman has What are you hoping the postman has brought you?brought you?

Let’s see what the postman has brought Let’s see what the postman has brought you. . .you. . .

Here’s your gift. . .Here’s your gift. . .Yes, that’s right; your special person has given you an onion!

What is your initial impression of this gift?

Why do you think they might have given you it?

While reading the poem, think about the speaker’s reasons for giving an onion as a gift.

ValentineValentine

She compares different aspects of the onion to different aspects of her love. Potential, Pain, Possessiveness, Commitment and Destruction

She tries to be honest about love and tries to avoid cliches

The poet compares her love and the relationship to an onion and this image is extended throughout the whole poem, drawing similarities throughout.


Context of the PoemContext of the Poem This poem is written in the first person. The speaker This poem is written in the first person. The speaker

appears to be the poet, addressing her lover as appears to be the poet, addressing her lover as "you". In fact, Carol Ann Duffy wrote Valentine after "you". In fact, Carol Ann Duffy wrote Valentine after a radio producer asked her to write an a radio producer asked her to write an original original poem for St. Valentine's Daypoem for St. Valentine's Day. (Valentine was . (Valentine was published in 1993published in 1993, in the collection , in the collection Mean TimeMean Time.) .) But the poem is But the poem is universaluniversal: it could be from any : it could be from any lover to any beloved (for example, there is no lover to any beloved (for example, there is no indication of the sex of either the "I" or the "you"). indication of the sex of either the "I" or the "you").

The poem, on the surface, is about the The poem, on the surface, is about the giving of an giving of an unusual presentunusual present for St. Valentine's Day, but really for St. Valentine's Day, but really is an is an exploration of love between two peopleexploration of love between two people. . This is a good text to write about, because it has a This is a good text to write about, because it has a single central image, which is developed throughout single central image, which is developed throughout the poem.the poem.

Form and structureForm and structure The poem is written in free verse using irregular stanzas to The poem is written in free verse using irregular stanzas to

support its content and purpose, which is to reject traditional support its content and purpose, which is to reject traditional restrictive conventions such as marriage and other notions of restrictive conventions such as marriage and other notions of love and to warn lovers that being overly possessive can have love and to warn lovers that being overly possessive can have undesirable consequences. undesirable consequences.

While ostensibly a poem on the theme of love, Duffy While ostensibly a poem on the theme of love, Duffy deliberately avoids the use of language or imagery that we deliberately avoids the use of language or imagery that we associate with this type of poetry. associate with this type of poetry.

Instead, the words are often stark and monosyllabic to allow her Instead, the words are often stark and monosyllabic to allow her to present her ideas clearly and unambiguously.to present her ideas clearly and unambiguously.

ThemesThemes Like most of the poems in Duffy’s Mean Time collection, Like most of the poems in Duffy’s Mean Time collection,

Valentine deals with those involved in damaged or Valentine deals with those involved in damaged or irreconcilable relationships.irreconcilable relationships.

In Valentine, Duffy ends on a warning note that love can be In Valentine, Duffy ends on a warning note that love can be "Lethal" and so life-threatening, forcing the reader to confront "Lethal" and so life-threatening, forcing the reader to confront the notion that a real love based on honesty and truthfulness the notion that a real love based on honesty and truthfulness can be painful and destructive as well as fulfilling and enriching. can be painful and destructive as well as fulfilling and enriching.

The allusion to the negative aspects of conventional The allusion to the negative aspects of conventional relationships suggests that, ultimately, they can often be relationships suggests that, ultimately, they can often be restrictive to the individual, while a love which is free from such restrictive to the individual, while a love which is free from such constraints is an ideal worth pursuing.constraints is an ideal worth pursuing.

ValentineValentine

1) Not a red rose or a satin heart.1) Not a red rose or a satin heart.

2) I give you an onion.2) I give you an onion.

3) It is a moon wrapped in brown paper.3) It is a moon wrapped in brown paper.

4) It promises light4) It promises light

5) like the careful undressing of love5) like the careful undressing of love

Repetition of structure later in the poem (line 11)Repetition of structure later in the poem (line 11)reinforces speaker’s sincerity/desire to be reinforces speaker’s sincerity/desire to be truthful/candid. Entirely convincing – Valentines – materialistic/superficial – many people look for truthful/candid. Entirely convincing – Valentines – materialistic/superficial – many people look for a different way to express devotion and the persona has done exactly that.a different way to express devotion and the persona has done exactly that.

First line – direct statement – First line – direct statement – Speaker immediately dismisses conventional Speaker immediately dismisses conventional symbols of love. ‘Not’ starts each sentence - no doubt that the persona does symbols of love. ‘Not’ starts each sentence - no doubt that the persona does not wish to show their feelings through overly sentimental conventional not wish to show their feelings through overly sentimental conventional symbols. symbols.

The title The title of the poem suggests that it will deal with fairly of the poem suggests that it will deal with fairly conventional notions of love.Yet unconventional gift offered .conventional notions of love.Yet unconventional gift offered .

Metaphor - Metaphor - Moon is a conventional symbol of love – suggests romance; ‘brown Moon is a conventional symbol of love – suggests romance; ‘brown paper’ – no fancy wrappings to disguise the object – truth/honesty. This is very paper’ – no fancy wrappings to disguise the object – truth/honesty. This is very believable.believable.

1) Positive aspect of love 1) Positive aspect of love - optimism at the beginning of a relationship. Words linked with - optimism at the beginning of a relationship. Words linked with pleasant/enjoyable aspects of love; pleasant/enjoyable aspects of love; ‘promises’ ‘promises’ also suggests assurance – a guarantee that the relationship also suggests assurance – a guarantee that the relationship will prosper.will prosper.

2) Positive aspect of love 2) Positive aspect of love - love has many layers– deeper emotion may be - love has many layers– deeper emotion may be felt as you peel away the layers. felt as you peel away the layers. The simile The simile suggests a physical relationship. suggests a physical relationship.

Word choice Word choice of ‘careful’ of ‘careful’ suggests tenderness/ suggests tenderness/ affection/warmth/ affection/warmth/ sensitivity. All of above sensitivity. All of above are reasonable are reasonable suggestions to make..suggestions to make..

ValentineValentine6) Here.6) Here.

7) It will blind you with tears7) It will blind you with tears

like a lover.like a lover.

8) It will make your reflection8) It will make your reflection

9) a wobbling photo of grief.9) a wobbling photo of grief.

10) I am trying to be truthful10) I am trying to be truthful

Commands - Commands - each one is on a line on its own (reinforcement )each one is on a line on its own (reinforcement )– – show s the speaker’s insistence, indicating that they are desperate for the lover show s the speaker’s insistence, indicating that they are desperate for the lover to accept the gift and understand their feelings. to accept the gift and understand their feelings. Tone Tone is forceful/aggressive –no is forceful/aggressive –no room for compromise. The speaker is irritated/angered by partner’s rejection of the room for compromise. The speaker is irritated/angered by partner’s rejection of the gift; gift;

Duffy’s use of the first person narrative Duffy’s use of the first person narrative helpshelps to to communicate strong feelings to the reader, as the communicate strong feelings to the reader, as the reader can imagine a real person speaking and reader can imagine a real person speaking and offering the gift of love – of an onion – to a lover. offering the gift of love – of an onion – to a lover.

Simile – Simile – truth/honesty – suggests love can cause distress/pain; truth/honesty – suggests love can cause distress/pain; Word choice Word choice suggests suggests pain and grief. Believable – in relationships, one partner can often be cruel/ hurtful. pain and grief. Believable – in relationships, one partner can often be cruel/ hurtful.

Metaphor - Metaphor - The onion is like a mirror – but the image may be distorted. The onion is like a mirror – but the image may be distorted. Extended metaphor – Extended metaphor – ‘wobbling photo of grief’ – pain/tears/ distress can be caused by relationships/ truth/honesty; ‘wobbling photo of grief’ – pain/tears/ distress can be caused by relationships/ truth/honesty; word word choice choice suggests pain and heartache. Relationships are not always completely agreeable. suggests pain and heartache. Relationships are not always completely agreeable.

Central idea Central idea of the poem is the Central line – very of the poem is the Central line – very direct statement; attitude of speaker before this direct statement; attitude of speaker before this line is mainly positive/gentle; after, more brutal, line is mainly positive/gentle; after, more brutal, threatening. Very personal – threatening. Very personal – note use of first note use of first person ‘I’.person ‘I’.

ValentineValentine11) Not a cute card or kissogram.11) Not a cute card or kissogram.

12) I give you an onion.12) I give you an onion.

13) Its fierce kiss will stay on your lips,13) Its fierce kiss will stay on your lips,

14) possessive and faithful14) possessive and faithful

15) as we are,15) as we are,

16) for as long as we are.16) for as long as we are.

SEE NOTES ON LINE ONE – SEE NOTES ON LINE ONE – Repetition/Structure Repetition/Structure – again does not – again does not wish to show their feelings through wish to show their feelings through overly sentimental conventional overly sentimental conventional symbols. symbols.

Powerful love is difficult to forget as is a Powerful love is difficult to forget as is a violent relationship. violent relationship. Word Choice - Word Choice - ‘fierce’ ‘fierce’ has connotations of anger/ brutality/violence. has connotations of anger/ brutality/violence. Too often we read about domestic Too often we read about domestic disharmony - persuaded by Duffy that this disharmony - persuaded by Duffy that this could happen. could happen.

Metaphor - Metaphor - Taste of the onion Taste of the onion is strong/difficult to erase – is strong/difficult to erase – just like memory of a just like memory of a passionate relationship lasts passionate relationship lasts after the relationship itself has after the relationship itself has ended. While this metaphor is ended. While this metaphor is truthful and sincere, truthful and sincere, the tone the tone is forceful/aggressive. is forceful/aggressive.

Word Choice -Word Choice - ‘ ‘possessive’ possessive’ suggests an element of suggests an element of jealousy, even control – jealousy, even control – persona’s tone persona’s tone becomes becomes forceful. ‘forceful. ‘Faithful’ Faithful’ gives a more positive feeling that love gives a more positive feeling that love can bring security and trust. Again, Duffy appears to be can bring security and trust. Again, Duffy appears to be using her comparison to present the dual nature of love using her comparison to present the dual nature of love

Repetition of ‘"I give you an onion"’ in lines 2 and 13, Repetition of ‘"I give you an onion"’ in lines 2 and 13, the speaker emphasises the importance of this gift being the speaker emphasises the importance of this gift being accepted by their lover. accepted by their lover.

ValentineValentine

17) Take it.17) Take it.

18) Its platinum loops shrink to a wedding ring,18) Its platinum loops shrink to a wedding ring,

19) if you like.19) if you like.

20) Lethal.20) Lethal.

21) Its scent will cling to your fingers,21) Its scent will cling to your fingers,

22) cling to your knife.22) cling to your knife.

Metaphor - Metaphor - Smell of the onion Smell of the onion is strong and difficult to erase – is strong and difficult to erase – just like memory of a deep just like memory of a deep relationship may last after the relationship may last after the relationship itself has ended; relationship itself has ended;

SEE NOTES ON LINE SIX – Commands -SEE NOTES ON LINE SIX – Commands -– shows the speaker’s insistence, Tone is forceful/aggressive –– shows the speaker’s insistence, Tone is forceful/aggressive –

The longer a relationship lasts it will become more serious and The longer a relationship lasts it will become more serious and may lead to marriage – which may become a restrictive may lead to marriage – which may become a restrictive relationship. relationship.

MetaphorMetaphor - - Comparison between the onion rings and a wedding ring. Comparison between the onion rings and a wedding ring. Word Word Choice - Choice - ‘‘shrinks’ shrinks’ may suggest that the relationship may restrict you - that may suggest that the relationship may restrict you - that marriage is not just about the wedding day – it requires an adjustment to a marriage is not just about the wedding day – it requires an adjustment to a relationship which may in fact restrict you both emotionally and physically.relationship which may in fact restrict you both emotionally and physically.

Intense relationship may lead to violence. Intense relationship may lead to violence. Word choice Word choice has connotations of danger has connotations of danger –– violence – even death; the speaker resorts to threat because they realise that their –– violence – even death; the speaker resorts to threat because they realise that their partner is unwilling to accept the gift – partner is unwilling to accept the gift – aggressive /threatening toneaggressive /threatening tone of speaker. of speaker.

Final lines of the poem Final lines of the poem – very strong sense of menace – very effective concluding statement. – very strong sense of menace – very effective concluding statement.

Word choice Word choice (‘knife’) indicates that the speaker threatens violence in (‘knife’) indicates that the speaker threatens violence in the final line. Realistically this could happen when one partner is the final line. Realistically this could happen when one partner is rejected.rejected.

HavishamHavisham


Describe something in your life that Describe something in your life that you have strong, mixed or you have strong, mixed or contradictory feelings about.contradictory feelings about.

Describe why this person/place/issue Describe why this person/place/issue etc. makes you feel this way.etc. makes you feel this way.

What impact does this have on you as What impact does this have on you as a person?a person?

HavishamHavisham

Miss Havisham was left at the altar some years before we first meet her, and has never changed out of her wedding dress.

She is a rather pathetic figure but also hates men as a result of having been left: throughout Great Expectations she spends her time trying to take her revenge on all men.

Miss Havisham is a character from the novel Great Expectations by Charles Dickens.


Duffy’s intentions…Duffy’s intentions… The poem seeks to make us understand Havisham. The poem seeks to make us understand Havisham.

The first person narrative enables the reader to The first person narrative enables the reader to empathise (rather than sympathise) with her empathise (rather than sympathise) with her feelings.feelings.

The anger expressed in the poem gives a sense of The anger expressed in the poem gives a sense of

her reclaiming her ability to change things, as her reclaiming her ability to change things, as opposed to just being a victim. opposed to just being a victim.

The possibility of being only a victim is suggested The possibility of being only a victim is suggested by the wailing question of who did this to her.by the wailing question of who did this to her.

Form and StructureForm and Structure The poem is written in four stanzas which are The poem is written in four stanzas which are

unrhymed. unrhymed.

Many of the lines run on, and the effect is like Many of the lines run on, and the effect is like normal speech. normal speech.

The poem is written in free verse, in that it has The poem is written in free verse, in that it has no regular pattern of metre or rhyme. It is, no regular pattern of metre or rhyme. It is, however, arranged in four stanzas of equal length however, arranged in four stanzas of equal length (has egs of internal rhyme), which suggests some (has egs of internal rhyme), which suggests some control in its speaker, undermining the madness control in its speaker, undermining the madness the character is known for, which is one of the the character is known for, which is one of the points of the poem.points of the poem.

Form and StructureForm and Structure

A dramatic monologue, Havisham is written A dramatic monologue, Havisham is written in the first person, with the poet assuming in the first person, with the poet assuming the voice of a character (a persona). the voice of a character (a persona).

This form enables us to understand her This form enables us to understand her thoughts because she is speaking them thoughts because she is speaking them directly. There is no sense of an audience, directly. There is no sense of an audience, so she appears to be speaking to herself. so she appears to be speaking to herself.

Havisham – Verse 1Havisham – Verse 1

1) Beloved sweetheart bastard. Not a day since then 1) Beloved sweetheart bastard. Not a day since then

2) I haven’t wished him dead. Prayed for it 2) I haven’t wished him dead. Prayed for it

3) so hard I’ve dark green pebbles for eyes, 3) so hard I’ve dark green pebbles for eyes,

4) ropes on the back of my hands I could strangle with. 4) ropes on the back of my hands I could strangle with.

Alliteration ‘B’ Alliteration ‘B’ emphasises anger. The very first sentence in the poem is just three nouns in a row, without a emphasises anger. The very first sentence in the poem is just three nouns in a row, without a verb. There are a number of other short and powerful fragments in the poem, which are deliberately used for verb. There are a number of other short and powerful fragments in the poem, which are deliberately used for effect. They create a sense of anger.effect. They create a sense of anger.

Oxymoron Oxymoron – Suggests love and hate. Ambivalent, contradictory, and conflicting ideas – Suggests love and hate. Ambivalent, contradictory, and conflicting ideas and feelings. It is pretty clear that Miss Havisham has these kinds of feelings about this and feelings. It is pretty clear that Miss Havisham has these kinds of feelings about this manman

Metaphor - Metaphor - "ropes" on the back of her hands again show how Havisham has aged (Veins) and hardened over the "ropes" on the back of her hands again show how Havisham has aged (Veins) and hardened over the years. There is violence in this metaphor too, as they are ropes Havisham "could strangle with".years. There is violence in this metaphor too, as they are ropes Havisham "could strangle with".

The WeddingThe Wedding

Metaphor - Metaphor - Green as the colour of jealousy and greed, and sometimes even the colour of sickness. And Green as the colour of jealousy and greed, and sometimes even the colour of sickness. And pebbles are hard and small. Her fiancé's betrayal has left her jealous and hardened.pebbles are hard and small. Her fiancé's betrayal has left her jealous and hardened.

Enjambement – Enjambement – Run Run on lineson lines

Assonance Assonance -"hard" and "dark." A repetition of similar vowel sounds. Used often in this -"hard" and "dark." A repetition of similar vowel sounds. Used often in this poem. poem.

Not only wished for her fiancé's death; she's prayed for it. And she's prayed for Not only wished for her fiancé's death; she's prayed for it. And she's prayed for it hard. Poem has taken on a distinctly sinister tone.it hard. Poem has taken on a distinctly sinister tone.


5) Spinster. I stink and remember. Whole days 5) Spinster. I stink and remember. Whole days

6) in bed cawing Nooooo at the wall; the dress 6) in bed cawing Nooooo at the wall; the dress

7) yellowing, trembling if I open the wardrobe;7) yellowing, trembling if I open the wardrobe;

8) the slewed mirror, full-length, her, myself, who did this8) the slewed mirror, full-length, her, myself, who did this

Single word sentence Single word sentence – – Negative word for an unmarried older woman -Negative word for an unmarried older woman - Denotes Her bitterness- what society Denotes Her bitterness- what society sums her up as. Monologue – get a glimpse into Miss Havisham's deepest thoughts (Stream of consciousness)sums her up as. Monologue – get a glimpse into Miss Havisham's deepest thoughts (Stream of consciousness)

She has never washed since her wedding day. She sees her life as decay and memories. She ‘remembers’, She has never washed since her wedding day. She sees her life as decay and memories. She ‘remembers’, suggests she has been stewing for decades, recalling every bit of unhappiness that she has had to endure suggests she has been stewing for decades, recalling every bit of unhappiness that she has had to endure because of her fiancé's actions. because of her fiancé's actions.

AgeAge

Metaphor - Metaphor - of a parrot “CAWING” makes her sound like an animal. Might she be reliving the moment when she of of a parrot “CAWING” makes her sound like an animal. Might she be reliving the moment when she of her fiancé's betrayal/bemoaning her current state of affairs? No one listening; she's just shouting at the wall. her fiancé's betrayal/bemoaning her current state of affairs? No one listening; she's just shouting at the wall.

Mirror. Mirror. She sees herself first as a "her," as if she doesn't recognize herself and what she's become. Mirror is She sees herself first as a "her," as if she doesn't recognize herself and what she's become. Mirror is "slewed," or turned/broken and warped, like a funhouse mirror. She could also be drunk"slewed," or turned/broken and warped, like a funhouse mirror. She could also be drunk

identity crisis. She no longer knows who is to blame. Split personality? she's staring at herself. And because identity crisis. She no longer knows who is to blame. Split personality? she's staring at herself. And because these words follow "myself," and there's no question mark after them, we might take it to mean she's blaming these words follow "myself," and there's no question mark after them, we might take it to mean she's blaming herself? herself?

Internal Rhyme Internal Rhyme - repeated sounds of "Spinst- repeated sounds of "Spinster. er. I stink and remembI stink and rememberer,"/"aw" sounds of caw and wall ,"/"aw" sounds of caw and wall combined with her short sentences claustrophobic? Trapped in Havisham's terrifing mind/ repeated thoughts combined with her short sentences claustrophobic? Trapped in Havisham's terrifing mind/ repeated thoughts

Full-length, giving Havisham a clear view of her entire body - old, yellowing, and wasting away. “Myself." Full-length, giving Havisham a clear view of her entire body - old, yellowing, and wasting away. “Myself." Havisham faces facts – she's the one in the mirror. Havisham faces facts – she's the one in the mirror.

PersonificationPersonification, As if dress waiting to be put back away / she lterally trembles when looking at the clothes of her past., As if dress waiting to be put back away / she lterally trembles when looking at the clothes of her past.


9) to me? Puce curses that are sounds not words.9) to me? Puce curses that are sounds not words.

10) Some nights better, the lost body over me,10) Some nights better, the lost body over me,

11) my fluent tongue in its mouth in its ear11) my fluent tongue in its mouth in its ear

12) then down till I suddenly bite awake. Love’s 12) then down till I suddenly bite awake. Love’s

Enjambment – Enjambment – Gives the poem new, unexpected layer. Suddenly seems that she believes she's not Gives the poem new, unexpected layer. Suddenly seems that she believes she's not at fault. Someone has done something to her/doesn't seem to take blame for the shape of her life. at fault. Someone has done something to her/doesn't seem to take blame for the shape of her life.

Colour of deep red to purple-brown suggests old Colour of deep red to purple-brown suggests old blood which represents old woundsblood which represents old wounds

(compare line 6) Suggests she no longer can access (compare line 6) Suggests she no longer can access language to express her feelings – where pain is so deep language to express her feelings – where pain is so deep there is no language available to describe itthere is no language available to describe it

Conversational/Change to Lighthearted tone Conversational/Change to Lighthearted tone – Suggests Dreaming – Suggests Dreaming of man and intimacy with him are when some nights are betterof man and intimacy with him are when some nights are better

Husband she never had Lost to her / Husband she never had Lost to her / also creates sexual imagery of body in also creates sexual imagery of body in her dreamsher dreams

This violence ‘bite’ is picked up towards the end of the poem. The ‘suddenness’ ends the fantasy and wakes This violence ‘bite’ is picked up towards the end of the poem. The ‘suddenness’ ends the fantasy and wakes her – and us as the reader to the viciousness of the attack (or dreamed attack) her – and us as the reader to the viciousness of the attack (or dreamed attack) Implied revenge? Implied revenge?

‘‘Its’ She depersonalizes him; in this moment, he's just a ‘body’ Its’ She depersonalizes him; in this moment, he's just a ‘body’ or object to her. Continues to imagine intimacy between themor object to her. Continues to imagine intimacy between them

Enjambment - Enjambment - Finally, we get a lingering word on the last line of the stanza: Finally, we get a lingering word on the last line of the stanza: "Love's." Again, builds expectation. "Love's." Again, builds expectation.


13) hate behind a white veil; a red balloon bursting 13) hate behind a white veil; a red balloon bursting

14) in my face. Bang. I stabbed at a wedding-cake. 14) in my face. Bang. I stabbed at a wedding-cake.

15) Give me a male corpse for a long slow honeymoon. 15) Give me a male corpse for a long slow honeymoon.

16) Don’t think it’s only the heart that b-b-b-breaks.16) Don’t think it’s only the heart that b-b-b-breaks.

‘‘Red’ suggests anger, Red’ suggests anger, Alliteration Alliteration of `b’ and plosive of `b’ and plosive sound suggest violence. sound suggest violence.

Metaphor - Metaphor - Suggests celebrations that did not take place. Used to express Suggests celebrations that did not take place. Used to express her embarrassment (the veil concealed this) and the end of her her embarrassment (the veil concealed this) and the end of her innocence/dreams.innocence/dreams.

Triple meaning – Triple meaning – ‘white’ suggests innocence, ‘white veil’ ‘white’ suggests innocence, ‘white veil’ represents the wedding, ‘veil’ represents in feminist represents the wedding, ‘veil’ represents in feminist terms that she is concealing something (Hate?)terms that she is concealing something (Hate?)

Oxymoron - Oxymoron - ‘Love’s hate’ - She doesn’t trust love ‘Love’s hate’ - She doesn’t trust love as it let her down. Also shows her confusion – she's as it let her down. Also shows her confusion – she's trapped between hating and loving him. trapped between hating and loving him.

Onomatopoeia - Short sentence Onomatopoeia - Short sentence for effect – also represents the shock for effect – also represents the shock she experienced.she experienced.

Violent imagery Violent imagery ‘Stabbed’ shows literally her anger at the time and ‘Stabbed’ shows literally her anger at the time and metaphorically shows her opinion on marriage.metaphorically shows her opinion on marriage.

Use of dark repulsive image. Use of dark repulsive image. Reference to death/corpse links to idea that the ‘honeymoon’ would provide the Reference to death/corpse links to idea that the ‘honeymoon’ would provide the long painful death she wants for him. Combines both love and revenge(a final triumph?). Rather have him dead long painful death she wants for him. Combines both love and revenge(a final triumph?). Rather have him dead than have him reject her(bitter/twisted) making the reader less understanding of Havisham.than have him reject her(bitter/twisted) making the reader less understanding of Havisham.

Use of plosive ‘b’ Use of plosive ‘b’ in a stuttering style, suggests the is breaking/crying/collapsing. She conveys that her in a stuttering style, suggests the is breaking/crying/collapsing. She conveys that her life/mind/body has broken as a result – not just her heart. Pathos (emotional appeal) to reader – pity. May also life/mind/body has broken as a result – not just her heart. Pathos (emotional appeal) to reader – pity. May also refer to length of time her heart has been broken and the possibility of a stabbing, violent action towards the refer to length of time her heart has been broken and the possibility of a stabbing, violent action towards the bridegroombridegroom


Describe something in your life that Describe something in your life that you have strong, mixed or you have strong, mixed or contradictory feelings about.contradictory feelings about.

Describe why this person/place/issue Describe why this person/place/issue etc. makes you feel this way.etc. makes you feel this way.

What impact does this have on you as What impact does this have on you as a person?a person?

Anne HathawayAnne Hathaway

Anne Anne HathawayHathaway

Sonnet (14 Lines – mirrors style used by Shakespeare) 16th century

He gives her the gift of his second favourite bed

Based on Shakespeare’s first wife.


Anne reacting to becoming a widow on Shakespeare’s death.

A dramatic monologue - spoken in the voice of a specific persona, real or imagined

Overview This poem, This poem, like Mrs Midas, like Mrs Midas, comes from the “The comes from the “The

World’s Wife”, Duffy’s first themed collection of poems. World’s Wife”, Duffy’s first themed collection of poems.

In this set of poems, Duffy considers both real and In this set of poems, Duffy considers both real and

fictional characters, stories, histories and myths which fictional characters, stories, histories and myths which concentrated on men, and gives voice to the women concentrated on men, and gives voice to the women associated with them. associated with them.

Although “Havisham” was printed a year earlierAlthough “Havisham” was printed a year earlier, it , it would make a good comparison with this poem would make a good comparison with this poem since both take the perspective of a woman living since both take the perspective of a woman living without her loverwithout her lover: Havisham having been jilted at the : Havisham having been jilted at the altar, while Hathaway has been widowed.altar, while Hathaway has been widowed.

Context (Background)Context (Background) Anne Hathaway was the wife of Shakespeare. She was seven Anne Hathaway was the wife of Shakespeare. She was seven

years his senior and already pregnant when the 18 year old, years his senior and already pregnant when the 18 year old, William Shakespeare, married her. William Shakespeare, married her.

The poem begins with an epigraph taken directly from The poem begins with an epigraph taken directly from Shakespeare’s will, in which despite being a man of some Shakespeare’s will, in which despite being a man of some considerable property at this time he leaves her only his considerable property at this time he leaves her only his “second “second best bed”.best bed”.

While some critics have viewed this as an insult, While some critics have viewed this as an insult, Duffy presents Duffy presents a new perspective and uses the bed as a metaphor for the a new perspective and uses the bed as a metaphor for the intense passion and romance shared by the couple. intense passion and romance shared by the couple.

The The “second best bed”“second best bed” was in fact the couple’s marital bed, the was in fact the couple’s marital bed, the best being reserved for guests. best being reserved for guests. Duffy imagines then that this Duffy imagines then that this legacy was the playwright’s last romantic gesture.legacy was the playwright’s last romantic gesture.

Form and Structure Fittingly, Duffy employs the sonnet form so Fittingly, Duffy employs the sonnet form so

adored by Shakespeare. adored by Shakespeare. This 14 line structure is often associated with This 14 line structure is often associated with

love poetry, deemed highly appropriate given love poetry, deemed highly appropriate given the subject matter of the poem. the subject matter of the poem.

Shakespearian sonnets contain three quatrains Shakespearian sonnets contain three quatrains and a couplet. and a couplet.

The quatrains usually present the key ideas The quatrains usually present the key ideas explored by the poet with the resolution or explored by the poet with the resolution or volta (an Italian term which literally translates volta (an Italian term which literally translates as “the turn”) arriving in the coupletas “the turn”) arriving in the couplet

Form and Structure In the poem, Duffy quite literally employs a “softer rhyme” In the poem, Duffy quite literally employs a “softer rhyme”

with a much more relaxed, less restrictive rhyme scheme with a much more relaxed, less restrictive rhyme scheme combined with overtly sensual, erotic language and imagery. combined with overtly sensual, erotic language and imagery.

She uses a regular meter but her She uses a regular meter but her deliberate choices of deliberate choices of assonance and alliterationassonance and alliteration are designed to imitate the are designed to imitate the random touching made during lovemaking, so that it is almost random touching made during lovemaking, so that it is almost as though the words themselves are grazing each other. as though the words themselves are grazing each other.

Duffy makes Duffy makes frequent use of enjambment frequent use of enjambment in the poem to in the poem to show how freely and without obstruction the love flowed show how freely and without obstruction the love flowed between the couple as well as to place emphasis on important between the couple as well as to place emphasis on important words or phrases. words or phrases.

The entire poem is a metaphor comparing the couple’s love The entire poem is a metaphor comparing the couple’s love making to the process of artistic and poetic creativity.making to the process of artistic and poetic creativity.

ThemesThemes This poem deals with the themes of passionate, This poem deals with the themes of passionate,

sensual erotic love as well as death and remembrance. sensual erotic love as well as death and remembrance.

In the poem, Duffy really concentrates on conveying In the poem, Duffy really concentrates on conveying that this was a marriage based on an all encompassing that this was a marriage based on an all encompassing deeply physical relationship. She uses the actual deeply physical relationship. She uses the actual legacy of the bed left by Shakespeare to his wife to legacy of the bed left by Shakespeare to his wife to meditate on this specific aspect of their relationship. meditate on this specific aspect of their relationship.

In doing so, she presents a couple completely in tune In doing so, she presents a couple completely in tune with each other both sexually and emotionally. with each other both sexually and emotionally.

Themes - continuedThemes - continued Fittingly, in a poem about the world’s greatest Fittingly, in a poem about the world’s greatest

ever poet and wordsmith, she uses language ever poet and wordsmith, she uses language itself as an extended metaphor to convey the itself as an extended metaphor to convey the intensity of their passion. intensity of their passion.

As well as emphasising the profound physical As well as emphasising the profound physical connection of the lovers, Duffy also considers connection of the lovers, Duffy also considers that the most fitting way to honour our dead that the most fitting way to honour our dead loved ones is by preserving the most enduring, loved ones is by preserving the most enduring, vivid aspects of their character in our memories, vivid aspects of their character in our memories, thus allowing them to continue to survive.thus allowing them to continue to survive.

EpigraphEpigraph ‘‘Item I gyve unto my wife my second best Item I gyve unto my wife my second best

bed ...’bed ...’(from Shakespeare’s will)(from Shakespeare’s will)

The poem begins with this actual extract from the The poem begins with this actual extract from the will of Shakespeare. will of Shakespeare.

Although many critics consider this legacy an Although many critics consider this legacy an insult to Hathaway, given that the playwright was insult to Hathaway, given that the playwright was fairly wealthy when he died, Duffy uses it as the fairly wealthy when he died, Duffy uses it as the catalyst for the poem and imbues the bed with a catalyst for the poem and imbues the bed with a much more magical and sensual meaning.much more magical and sensual meaning.

1st Quatrain - Lines 1 - 41st Quatrain - Lines 1 - 4

1) The bed we loved in was a spinning world1) The bed we loved in was a spinning world

2) of forests, castles, torchlight, clifftops, seas2) of forests, castles, torchlight, clifftops, seas

3) where he would dive for pearls. My lover’s words3) where he would dive for pearls. My lover’s words

4) were shooting stars which fell to earth as kisses4) were shooting stars which fell to earth as kisses

Imagery - Imagery - Reader is transported to a magical landscape filled with metaphor, romance and intrigue where Reader is transported to a magical landscape filled with metaphor, romance and intrigue where Shakespeare’s writing and his love for Anne are intertwined. Mirrors Shakespeare’s own writing (Macbeth, etc.) Shakespeare’s writing and his love for Anne are intertwined. Mirrors Shakespeare’s own writing (Macbeth, etc.) Link between these iconic works of literature and the poetry –echoes the excitement that took place in this bedLink between these iconic works of literature and the poetry –echoes the excitement that took place in this bed

Imagery - Imagery - Suggests their love made her dizzy, was all encompassing and exciting. Interestingly, despite bearing Suggests their love made her dizzy, was all encompassing and exciting. Interestingly, despite bearing him three children, the persona focuses only on their relationship as lovers, not parents. him three children, the persona focuses only on their relationship as lovers, not parents.

In their lovemaking, they found In their lovemaking, they found something precious and valuable - something precious and valuable - “pearls” - Intimate, sensual tone “pearls” - Intimate, sensual tone

This intimate, sensual tone This intimate, sensual tone is continued in the metaphor below. Hathaway was seduced firstly by her is continued in the metaphor below. Hathaway was seduced firstly by her lover’s language and poetry, which literally seems to fall from the heavens as though a gift from the lover’s language and poetry, which literally seems to fall from the heavens as though a gift from the Gods before transforming into the physical touch of a kiss.Gods before transforming into the physical touch of a kiss.Sibilance also evident rep of ‘s’ sound= Sibilance also evident rep of ‘s’ sound= fireworksfireworks

His words are stars up in the sky that everyone can see and admire, but his poetry is also His words are stars up in the sky that everyone can see and admire, but his poetry is also something intimate that only Anne can experience and fully comprehend. For her, his works are something intimate that only Anne can experience and fully comprehend. For her, his works are something physical that she can touch, an experience of Shakespeare that nobody else can something physical that she can touch, an experience of Shakespeare that nobody else can have.have.

Enjambment - Enjambment - Throughout the poem to show Throughout the poem to show how freely and without obstruction the love how freely and without obstruction the love flowed between the couple flowed between the couple

2nd Quatrain - Lines 5 - 82nd Quatrain - Lines 5 - 8

5) on these lips; my body now a softer rhyme5) on these lips; my body now a softer rhyme

6) to his, now echo, assonance; his touch6) to his, now echo, assonance; his touch

7) a verb dancing in the centre of a noun.7) a verb dancing in the centre of a noun.

8) Some nights, I dreamed he’d written me, the bed8) Some nights, I dreamed he’d written me, the bed

Imagery - Imagery - The erotic touch of his hand on her body is described as “a verb dancing in the centre of a The erotic touch of his hand on her body is described as “a verb dancing in the centre of a noun.” This deliberate comparison elevates their lovemaking to something poetic and in doing so literary or noun.” This deliberate comparison elevates their lovemaking to something poetic and in doing so literary or linguistic terms become loaded with sensuality. Poetry and intimacy are interwoven linguistic terms become loaded with sensuality. Poetry and intimacy are interwoven

LLanguage/poerty metaphor anguage/poerty metaphor is extended. Uses is extended. Uses poetic terms poetic terms to to describe intimacy describe intimacy between both - her body is a between both - her body is a “softer rhyme” to his harder, more masculine body, Their bodies rhyme with each other. Interestingly, Anne “softer rhyme” to his harder, more masculine body, Their bodies rhyme with each other. Interestingly, Anne characterises her body as "softer" than her husband's, embracing a kind of stereotypical femininity. characterises her body as "softer" than her husband's, embracing a kind of stereotypical femininity.

Anne imagines she is a product of her husband’s imagination, written into existence through their passionate Anne imagines she is a product of her husband’s imagination, written into existence through their passionate exchanges like a character from his plays. Suggests that it is only when she considers herself through his eyes exchanges like a character from his plays. Suggests that it is only when she considers herself through his eyes and imagination that she feels most fully alive and imagination that she feels most fully alive

Symbol - Symbol - The reference again to the bed at the end of line 8 creates a link to the opening line of the poem and The reference again to the bed at the end of line 8 creates a link to the opening line of the poem and reinforces the symbolic significance of the bed as a representation of their love.reinforces the symbolic significance of the bed as a representation of their love.

3rd Quatrain - Lines 9 - 123rd Quatrain - Lines 9 - 12

9) a page beneath his writer’s hands. Romance9) a page beneath his writer’s hands. Romance

10) and drama played by touch, by scent, by taste.10) and drama played by touch, by scent, by taste.

11) In the other bed, the best, our guests dozed on,11) In the other bed, the best, our guests dozed on,

12) dribbling their prose. My living laughing love –12) dribbling their prose. My living laughing love –

Imagery - Imagery - She is his ultimate muse, not just inspiring him to produce great works but actually becoming them. She is his ultimate muse, not just inspiring him to produce great works but actually becoming them. The writing/intimacy metaphor is extended (the bed is a page, and Anne is the writing on it). The writing/intimacy metaphor is extended (the bed is a page, and Anne is the writing on it).

Alliteration and Assonance – Alliteration and Assonance – UsedUsed to emphasise again how clearly the speaker can recall their passion. to emphasise again how clearly the speaker can recall their passion. Suggests that her lover continues in some ways to exist and survive in her memory. Suggests that her lover continues in some ways to exist and survive in her memory. The dash The dash creates a pause to creates a pause to allow us to reflect on this idea and prepare us for the resolution and the final couplet.allow us to reflect on this idea and prepare us for the resolution and the final couplet.

ContrastContrast - compares the poetry and sensuality of their lovemaking with those who slept in the “other bed” . Uses - compares the poetry and sensuality of their lovemaking with those who slept in the “other bed” . Uses withering, disparaging comment .The implication is clear: poetry symbolises the most skilful and creative use of withering, disparaging comment .The implication is clear: poetry symbolises the most skilful and creative use of language while prose (novels etc.)by comparison is unexceptional. Their intimacy is magical compared to language while prose (novels etc.)by comparison is unexceptional. Their intimacy is magical compared to others.others.

Sensory Imagery Sensory Imagery is employed “touch”, “scent”,” taste” to reinforce just how vividly she can still recall their is employed “touch”, “scent”,” taste” to reinforce just how vividly she can still recall their lovemaking as though through immersing herself in these memories she can experience this passion once lovemaking as though through immersing herself in these memories she can experience this passion once more.more.

Word Choice - Word Choice - Persona implies the inspiration for his characters and plots came from their lovemaking (itself Persona implies the inspiration for his characters and plots came from their lovemaking (itself enacting a drama). The word “romance” is deliberately placed at the end of line 9 to emphasise that this is what enacting a drama). The word “romance” is deliberately placed at the end of line 9 to emphasise that this is what she most associates with their relationship. Life is better than artshe most associates with their relationship. Life is better than art

The Couplet Lines 13 - 14The Couplet Lines 13 - 14

13) I hold him in the casket of my widow’s head13) I hold him in the casket of my widow’s head

14) as he held me upon that next best bed.14) as he held me upon that next best bed.

Rhyme - Rhyme - The final couplet ends with the masculine full rhyme (unlike the rest of poem) of The final couplet ends with the masculine full rhyme (unlike the rest of poem) of “head” and “bed” to provide a defined conclusion to the poem. Just as the last two lines of a “head” and “bed” to provide a defined conclusion to the poem. Just as the last two lines of a Shakesperian sonnet would end, gives a sense of unity.Shakesperian sonnet would end, gives a sense of unity.

Duffy seems to suggest that keeping vivid memories of loved ones is much more fitting than the urn or coffin, Duffy seems to suggest that keeping vivid memories of loved ones is much more fitting than the urn or coffin, which although may contain the physical remnants of a body, it can never capture the energy or vitality of their which although may contain the physical remnants of a body, it can never capture the energy or vitality of their character. In doing so and by allowing her to replay her memories of their passion, she is really honouring his character. In doing so and by allowing her to replay her memories of their passion, she is really honouring his true legacy and repaying him for the way that he held her in “that next best bed.” true legacy and repaying him for the way that he held her in “that next best bed.”

Rhyming Rhyming CoupletCouplet

MetaphorMetaphor of holding her lover in the protective “casket” of her imagination reiterates the of holding her lover in the protective “casket” of her imagination reiterates the idea presented in the previous line suggesting that our memory of a deceased loved one in idea presented in the previous line suggesting that our memory of a deceased loved one in a way allows their continued existence. She treasures her memories of hima way allows their continued existence. She treasures her memories of him

Mrs MidasMrs Midas

Mrs MidasMrs Midas

Themes include loneliness, greed and suffering the consequences of our actions.

Explores the consequences of our actions.

Based on myth of King Midas.


Uses sometimes comic tone

A dramatic monologue - spoken in the voice of a specific persona, real or imagined

OverviewMrs Midas is a poem written from the viewpoint of the wife of Mrs Midas is a poem written from the viewpoint of the wife of the mythological King Midas, from Ovid’s Metamorphoses. the mythological King Midas, from Ovid’s Metamorphoses.

King Midas was granted a wish by the god Dionysus whereby King Midas was granted a wish by the god Dionysus whereby everything he touched would turn to gold. everything he touched would turn to gold.

With comical undertones, a wide range of emotions is With comical undertones, a wide range of emotions is expressed through the persona of Mrs Midas as she speaks out expressed through the persona of Mrs Midas as she speaks out against her husband’s foolish actions and gradually separates against her husband’s foolish actions and gradually separates herself from him. herself from him.

She leaves him to waste away in isolation while she laments She leaves him to waste away in isolation while she laments the loss of their physical relationship and the chance to have a the loss of their physical relationship and the chance to have a baby together to fulfil their dreams.baby together to fulfil their dreams.

Form and StructureForm and Structure This poem is written in the form of a dramatic This poem is written in the form of a dramatic

monologue from a female perspective, similar to all monologue from a female perspective, similar to all of the poems from The World’s Wife collection in of the poems from The World’s Wife collection in which well-known characters from myths or history which well-known characters from myths or history are presented from the perspective of their are presented from the perspective of their forgotten or disregarded and wives. forgotten or disregarded and wives.

Duffy focuses on an aspect of this well-known Duffy focuses on an aspect of this well-known character and presents an imaginary response character and presents an imaginary response from the wife’s viewpoint, providing fresh, thought-from the wife’s viewpoint, providing fresh, thought-provoking and comical insight into their lives. provoking and comical insight into their lives.

StructureStructure Mrs Midas is made up of eleven stanzas of irregular line length ranging from Mrs Midas is made up of eleven stanzas of irregular line length ranging from

six lines to ten in order six lines to ten in order to reflect how unpredictable and chaotic life has to reflect how unpredictable and chaotic life has become for this couple become for this couple in that at any second with a simple touch, Mrs in that at any second with a simple touch, Mrs Midas could also soon be turned to gold. Midas could also soon be turned to gold.

Stanzas 1 to 6 Stanzas 1 to 6 deal with the discovery of King Midas’ granted wish and the deal with the discovery of King Midas’ granted wish and the

realisation and then sheer panic of how he has been given such a realisation and then sheer panic of how he has been given such a tremendous power, whilst a comic tone is maintained throughout, as Mrs tremendous power, whilst a comic tone is maintained throughout, as Mrs Midas even catalogues everyday items being turned to gold. Midas even catalogues everyday items being turned to gold.

The remainder of the poem reveals the harsh heartfelt implications of Midas’ The remainder of the poem reveals the harsh heartfelt implications of Midas’ giftgift, highlighting the damage it has done to the couple’s relationship , highlighting the damage it has done to the couple’s relationship and their future togetherand their future together. .

The final line The final line in the poem sums up Mrs Midas’ regret at the loss of physical in the poem sums up Mrs Midas’ regret at the loss of physical contact with her isolated husband. contact with her isolated husband.

ThemesThemes GreedGreed is certainly a recurring theme as this what motivated is certainly a recurring theme as this what motivated

Midas to make his wish in the first place and the damaging Midas to make his wish in the first place and the damaging effects are portrayed throughout with both husband and wife, in effects are portrayed throughout with both husband and wife, in the end, being left alone to suffer the effects of wishing to the end, being left alone to suffer the effects of wishing to possess a substance which ultimately ‘feeds no one.’ possess a substance which ultimately ‘feeds no one.’

Consequences of our actions: Consequences of our actions: This is a prevalent theme as This is a prevalent theme as both Midas and his wife pay the price of not really taking the both Midas and his wife pay the price of not really taking the time to deliberate and think through what would follow if they time to deliberate and think through what would follow if they chose one action over another. chose one action over another.

Loneliness and Solitude Loneliness and Solitude are all that is left for both characters are all that is left for both characters by the end of the poem as a result of one selfish act. A life of by the end of the poem as a result of one selfish act. A life of solitude is chosen as soon as Midas is ‘granted’ his foolish and solitude is chosen as soon as Midas is ‘granted’ his foolish and selfish wish. selfish wish.

Stanza 1 - Lines 1 - 6Stanza 1 - Lines 1 - 6

It was late September. I’d just poured a glass of wine, begunIt was late September. I’d just poured a glass of wine, begun

to unwind, while the vegetables cooked. The kitchento unwind, while the vegetables cooked. The kitchen

filled with the smell of itself, relaxed, its steamy breathfilled with the smell of itself, relaxed, its steamy breath

gently blanching the windows. So I opened one,gently blanching the windows. So I opened one,

then with my fingers wiped the other’s glass like a brow.then with my fingers wiped the other’s glass like a brow.

He was standing under the pear tree snapping a twig.He was standing under the pear tree snapping a twig.

Duffy presents Mrs Midas in a typical domestic scene. Duffy presents Mrs Midas in a typical domestic scene.

The The references to touching references to touching are noticeable but are presented subtly in this stanza. She has poured a glass of are noticeable but are presented subtly in this stanza. She has poured a glass of wine but noticed the steam on “the other’s glass” which she wipes “like a brow”, wine but noticed the steam on “the other’s glass” which she wipes “like a brow”, thus also conveying the thus also conveying the loving relationship enjoyed by the couple. loving relationship enjoyed by the couple. Likewise the “steamy breath” from the stove is “gently blanching Likewise the “steamy breath” from the stove is “gently blanching the windows”.the windows”.

Personified Personified kitchenkitchen; ‘filled ; ‘filled with the smell of with the smell of itself’, during the itself’, during the peak of the peak of the golden autumnal golden autumnal month of month of September. The September. The kitchen’s ‘steamy kitchen’s ‘steamy breath’ which is breath’ which is ‘gently blanching’ ‘gently blanching’ is is in contrast in contrast to to the life sapping the life sapping events which are events which are taking place in the taking place in the garden – e.g ‘twig’ garden – e.g ‘twig’ turned to gold in turned to gold in next stanzanext stanza


Now the garden was long and the visibility poor, the wayNow the garden was long and the visibility poor, the way

the dark of the ground seems to drink the light of the sky,the dark of the ground seems to drink the light of the sky,

but that twig in his hand was gold. And then he pluckedbut that twig in his hand was gold. And then he plucked

a pear from a branch. – we grew Fondante d’Automne – a pear from a branch. – we grew Fondante d’Automne –

and it sat in his palm, like a lightbulb. On.and it sat in his palm, like a lightbulb. On.

I thought to myself, Is he putting fairy lights in the tree?I thought to myself, Is he putting fairy lights in the tree?

ImageryImagery–Is particularly effective and has a bearing on what follows: At this stage the reader does not know what is –Is particularly effective and has a bearing on what follows: At this stage the reader does not know what is about to happen, but the concept of a life-force being drained and replaced by something evil is well expressed here. about to happen, but the concept of a life-force being drained and replaced by something evil is well expressed here.

The second stanza The second stanza describes what she sees through the window.describes what she sees through the window.

This simile This simile effectively effectively conveys both the conveys both the shape of the pear and shape of the pear and also the brightness also the brightness emanating from it. emanating from it. The full stops The full stops add a add a comedic effect, comedic effect, highlighting Mrs highlighting Mrs Midas’ shock, Midas’ shock, disbelief and sudden disbelief and sudden dawning of awareness dawning of awareness in her own mind as to in her own mind as to what she has just what she has just witnessed. witnessed.

This whimsical, light and humorous imagery This whimsical, light and humorous imagery is continued and contrasts with the seriousness of what is continued and contrasts with the seriousness of what has just happened and her incredulity is evident when she questions whether he is just ‘putting fairy has just happened and her incredulity is evident when she questions whether he is just ‘putting fairy lights in the tree?’ The narrator seeks to find a rational explanation for what she is seeing. lights in the tree?’ The narrator seeks to find a rational explanation for what she is seeing.


He came into the house. The doorknobs gleamed. He came into the house. The doorknobs gleamed.

He drew the blinds. You know the mind; I thought of He drew the blinds. You know the mind; I thought of

the Field of the Cloth of Gold and of Miss Macready. the Field of the Cloth of Gold and of Miss Macready.

He sat in that chair like a king on a burnished throne. He sat in that chair like a king on a burnished throne.

The look on his face was strange, wild, vain. I said, The look on his face was strange, wild, vain. I said,

What in the name of God is going on? He started to laugh. What in the name of God is going on? He started to laugh.

Stanza 3 Stanza 3 relays Midas’ return journey through the house as he turns the doorknobs and blinds into gleaming goldrelays Midas’ return journey through the house as he turns the doorknobs and blinds into gleaming gold

Simile - Simile - Midas becomes Midas becomes king-like when he sits in king-like when he sits in his chair. Allusion to his chair. Allusion to Shakespeare's ‘Anthony Shakespeare's ‘Anthony and Cleopatra ‘and Cleopatra ‘

Wife thinks back to a school history Wife thinks back to a school history lesson and the meeting place lesson and the meeting place between the Kings of England and between the Kings of England and France in 1520 in France. This was France in 1520 in France. This was embellished with gold to disguise embellished with gold to disguise the surrounding deprivation of the the surrounding deprivation of the nation. nation.

Theme - Theme - Mrs Midas goes on Mrs Midas goes on to describe the expression of to describe the expression of her husband as he realises her husband as he realises that he has been given a that he has been given a tremendous power, tremendous power, motivated by greed. motivated by greed.

Short, abrupt sentence and end-stop -Short, abrupt sentence and end-stop -As the exasperated wife, Mrs Midas makes a typical expression of As the exasperated wife, Mrs Midas makes a typical expression of confusion. Her perplexed reaction causes her husband to laugh. Response is inappropriate,.confusion. Her perplexed reaction causes her husband to laugh. Response is inappropriate,.


I served up the meal. For starters, corn on the cob.I served up the meal. For starters, corn on the cob.

Within seconds he was spitting out the teeth of the rich.Within seconds he was spitting out the teeth of the rich.

He toyed with his spoon, then mine, then with the knives, the forks.He toyed with his spoon, then mine, then with the knives, the forks.

He asked where was the wine. I poured with a shaking hand,He asked where was the wine. I poured with a shaking hand,

a fragrant, bone-dry white from Italy, then watcheda fragrant, bone-dry white from Italy, then watched

as he picked up the glass, goblet, golden chalice, drank. as he picked up the glass, goblet, golden chalice, drank.

In Stanza 4, Mrs Midas attempts to instil a sense of normality by her matter of fact tone in serving up dinner.In Stanza 4, Mrs Midas attempts to instil a sense of normality by her matter of fact tone in serving up dinner.

Alliteration - Alliteration - The moment of realisation is captured in the transformation of the glass.The harsh consonance of The moment of realisation is captured in the transformation of the glass.The harsh consonance of the 'g' sound, reflects the impact of the transformation. A poisoned Chalice? Midas will soon realise that his the 'g' sound, reflects the impact of the transformation. A poisoned Chalice? Midas will soon realise that his miraculous gift will carry a hidden price. miraculous gift will carry a hidden price.

Mrs Midas pours Mrs Midas pours the 'bone-dry' wine the 'bone-dry' wine 'with a shaking 'with a shaking hand' reflecting her hand' reflecting her mounting fear.mounting fear.

This comedic effect This comedic effect is is maintained as negative maintained as negative effects of such a “gift” effects of such a “gift” shown as Midas can no shown as Midas can no longer enjoy the simple longer enjoy the simple pleasures of food. His pleasures of food. His ambition will cause him to ambition will cause him to starve. starve.


It was then that I started to scream. He sank to his knees.It was then that I started to scream. He sank to his knees.

After we’d both calmed down, I finished the wineAfter we’d both calmed down, I finished the wine

on my own, hearing him out. I made him siton my own, hearing him out. I made him sit

on the other side of the room and keep his hands to himself.on the other side of the room and keep his hands to himself.

I locked the cat in the cellar. I moved the phone.I locked the cat in the cellar. I moved the phone.

The toilet I didn’t mind. I couldn’t believe my ears:The toilet I didn’t mind. I couldn’t believe my ears:

The sinking in of reality is further echoed in the first lines of Stanza 5 as both come to terms with his new power, The sinking in of reality is further echoed in the first lines of Stanza 5 as both come to terms with his new power,

Humour - Humour - The stanza ends with Mrs Midas relaying the precautions she took to The stanza ends with Mrs Midas relaying the precautions she took to protect the cat by locking it in the cellar and then moving the phone, but allowing protect the cat by locking it in the cellar and then moving the phone, but allowing the toilet (Allusion to ‘The Throne’) to be changed into gold. the toilet (Allusion to ‘The Throne’) to be changed into gold.

Mrs Midas finishes Mrs Midas finishes off the wine and off the wine and forces her husband forces her husband to sit alone. Even to sit alone. Even after becoming aware after becoming aware of the consequences, of the consequences, this this humorous line humorous line reveals that while reveals that while Midas still seeks to Midas still seeks to enjoy a physical enjoy a physical relationship with his relationship with his wife, his new “gift” wife, his new “gift” means that he will be means that he will be deprived this deprived this pleasure.pleasure.


how he’d had a wish. Look, we all have wishes; granted.how he’d had a wish. Look, we all have wishes; granted.

But who has wishes granted? Him. Do you know about gold?But who has wishes granted? Him. Do you know about gold?

It feeds no one; aurum, soft, untarnishable; slakesIt feeds no one; aurum, soft, untarnishable; slakes

no thirst. He tried to light a cigarette; I gazed, entranced,no thirst. He tried to light a cigarette; I gazed, entranced,

as the blue flame played on its luteous stem. At least,as the blue flame played on its luteous stem. At least,

I said, you’ll be able to give up smoking for good.I said, you’ll be able to give up smoking for good.

Sentence Structure - Sentence Structure - Duffy then inserts a deliberate pause to imitate the speaker’s incredulity upon hearing how Duffy then inserts a deliberate pause to imitate the speaker’s incredulity upon hearing how her husband has been “granted” a wish. her husband has been “granted” a wish.

Structure - Structure - However, it is However, it is Midas' wish for gold that is Midas' wish for gold that is outrageous; she asks outrageous; she asks another rhetorical question another rhetorical question and answers it. . and answers it. .

Humour - Humour - is injected to contrast with this harsh fact as Mrs Midas considers with sardonic practicality how the is injected to contrast with this harsh fact as Mrs Midas considers with sardonic practicality how the situation will mean that at least Midas will be able to stop smoking.situation will mean that at least Midas will be able to stop smoking.

Pun - Pun - which is repeated to convey her opinion, that in general, people do and can make wishes but if they are which is repeated to convey her opinion, that in general, people do and can make wishes but if they are going to be given, then of course her ‘fool’ of a husband had to be the one to have his wish come true. going to be given, then of course her ‘fool’ of a husband had to be the one to have his wish come true.

Tone - Tone - She is truly aggrieved by this and goes on to justify the futility of such a wish She is truly aggrieved by this and goes on to justify the futility of such a wish since gold ‘feeds no one’. In doing so she exposes the inherent lack of real value of since gold ‘feeds no one’. In doing so she exposes the inherent lack of real value of gold. gold.

Structure - rhetorical Structure - rhetorical question question monosyllabic monosyllabic minor sentence which minor sentence which answers her question answers her question 'Him' conveys his 'Him' conveys his disgust with her disgust with her husbandhusband


Separate beds. in fact, I put a chair against my door,Separate beds. in fact, I put a chair against my door,

near petrified. He was below, turning the spare roomnear petrified. He was below, turning the spare room

into the tomb of Tutankhamun. You see, we were passionate then,into the tomb of Tutankhamun. You see, we were passionate then,

in those halcyon days; unwrapping each other, rapidly,in those halcyon days; unwrapping each other, rapidly,

like presents, fast food. But now I feared his honeyed embrace,like presents, fast food. But now I feared his honeyed embrace,

the kiss that would turn my lips to a work of art.the kiss that would turn my lips to a work of art.

Contrast Imagery – Contrast Imagery – Of physical Of physical suffering they must now endure, suffering they must now endure, compared to the fulfilling relationship compared to the fulfilling relationship ‘Halcyon days’ – (perfect times)they ‘Halcyon days’ – (perfect times)they enjoyed before he was granted his enjoyed before he was granted his wish. wish.

Metaphor - Metaphor - However, she However, she now rightly fears Midas’ now rightly fears Midas’ ‘honeyed embrace’ since it ‘honeyed embrace’ since it would be deadly to her.would be deadly to her.

Humour/Imagery - Humour/Imagery - Although Although there is still humour in the use there is still humour in the use of internal rhyme: ‘tomb/ of internal rhyme: ‘tomb/ Tutankhamun', the imagery Tutankhamun', the imagery now carries connotations of now carries connotations of death and symbolises that death and symbolises that their relationship and dreams their relationship and dreams are effectively dead. are effectively dead.

Structure - Structure - Single statement: The remainder of the poem continues to highlight Single statement: The remainder of the poem continues to highlight the damage Midas’ gift has done to their once loving relationship. Then it the damage Midas’ gift has done to their once loving relationship. Then it transpires, on separate floors, indicating the widening gulf between them. transpires, on separate floors, indicating the widening gulf between them.


And who, when it comes to the crunch, can liveAnd who, when it comes to the crunch, can live

with a heart of gold? That night, I dreamt I borewith a heart of gold? That night, I dreamt I bore

his child, its perfect ore limbs, its little tonguehis child, its perfect ore limbs, its little tongue

like a precious latch, its amber eyeslike a precious latch, its amber eyes

holding their pupils like flies. My dream milkholding their pupils like flies. My dream milk

burned in my breasts. I woke to the streaming sun. burned in my breasts. I woke to the streaming sun.

Imagery – Imagery – But this descends into a But this descends into a disturbing image as these flame disturbing image as these flame coloured eyes are deemed to be coloured eyes are deemed to be ‘holding their pupils like flies.’ ‘holding their pupils like flies.’ A A symbol of lifelessness. symbol of lifelessness.

Perhaps the most poignant Perhaps the most poignant image in this poem is her image in this poem is her sadness of being deprived sadness of being deprived the opportunity to have a the opportunity to have a real baby real baby

Imagery - Imagery - The speaker's longing for a child is The speaker's longing for a child is encapsulated here and it is perhaps this image of encapsulated here and it is perhaps this image of thwarted maternal love that reveals the true cost of thwarted maternal love that reveals the true cost of Midas' greed. Midas' greed.

Metaphor - Metaphor - Expression usually has positive connations and is associated with Expression usually has positive connations and is associated with kindness.This metaphor is ironically inverted as the literal meaning is implied, kindness.This metaphor is ironically inverted as the literal meaning is implied, inferring that it would be impossible to survive as a living being with such a inferring that it would be impossible to survive as a living being with such a heart. heart.

A superficial, initially attractive description of the baby she dreamt about is givenA superficial, initially attractive description of the baby she dreamt about is given

Waking to the ‘streaming sun’, again, poignantly Waking to the ‘streaming sun’, again, poignantly reminds us that each day she will awake to a world reminds us that each day she will awake to a world in which gold dominates every waking moment. in which gold dominates every waking moment.


So he had to move out. We’d a caravanSo he had to move out. We’d a caravan

in the wilds, in a glade of its own. I drove him upin the wilds, in a glade of its own. I drove him up

under the cover of dark. He sat in the back.under the cover of dark. He sat in the back.

And then I came home, the woman who married the foolAnd then I came home, the woman who married the fool

who wished for gold. At first, I visited, odd times,who wished for gold. At first, I visited, odd times,

parking the car a good way off, then walking.parking the car a good way off, then walking.

In Stanza 9, the consequences of the myth and the effect on their lives continues to destroy their relationship as In Stanza 9, the consequences of the myth and the effect on their lives continues to destroy their relationship as Mrs Midas bluntly informs us: ‘So he had to move out.’Mrs Midas bluntly informs us: ‘So he had to move out.’

The fact she parks the car The fact she parks the car 'a good way off‘ 'a good way off‘ emphasises her emphasises her continued fear of her continued fear of her husband’s gift husband’s gift

Mrs Midas' embarrassment at her Mrs Midas' embarrassment at her husband's behaviour is conveyed in husband's behaviour is conveyed in the way drives him to live in their the way drives him to live in their isolated caravan. She drives him isolated caravan. She drives him away 'under cover of dark' which away 'under cover of dark' which reveals her sense of shamereveals her sense of shame

Third person narrative - Third person narrative - She returns alone as: ‘the She returns alone as: ‘the woman who married the woman who married the fool’, clearly blaming her fool’, clearly blaming her husband for stupidly husband for stupidly wishing for gold while wishing for gold while reflecting on the derision reflecting on the derision and mockery of and mockery of gossipmongers. gossipmongers.


You knew you were getting close. Golden troutYou knew you were getting close. Golden trout

on the grass. One day, a hare hung from a larch,on the grass. One day, a hare hung from a larch,

a beautiful lemon mistake. And then his footprints,a beautiful lemon mistake. And then his footprints,

glistening next to the river’s path. He was thin,glistening next to the river’s path. He was thin,

delirious; hearing, he said, the music of Pandelirious; hearing, he said, the music of Pan

from the woods. Listen. That was the last straw.from the woods. Listen. That was the last straw.

Solitary image – Solitary image – Stanza 10 describes his distanced, detached separate lifestyle as she describes the rural Stanza 10 describes his distanced, detached separate lifestyle as she describes the rural single golden items and other evidence of his folly she discovers on her walk from the parked car to her husband. single golden items and other evidence of his folly she discovers on her walk from the parked car to her husband. These images are the legacy he leaves behind him rather than the perfect child she longed for. These images are the legacy he leaves behind him rather than the perfect child she longed for.

Unable to slake his appetite or his thirst, Midas is driven 'delirious' She describes him in a sorrowful state as Unable to slake his appetite or his thirst, Midas is driven 'delirious' She describes him in a sorrowful state as ‘thin.’‘thin.’

His delirium leads him to believe he His delirium leads him to believe he can hear the ‘music of Pan.’ This can hear the ‘music of Pan.’ This associates him with another Greek associates him with another Greek God, this time the isolated figure of God, this time the isolated figure of Pan who was the God of shepherds Pan who was the God of shepherds and flocks (also sung for Midas in and flocks (also sung for Midas in Greek myths). We note the irony that a Greek myths). We note the irony that a gift so equated with wealth and gift so equated with wealth and prosperity should result in such prosperity should result in such emotional poverty.emotional poverty.

This proves to be the breaking point for Mrs Midas.This proves to be the breaking point for Mrs Midas.


What gets me now is not the idiocy or greedWhat gets me now is not the idiocy or greed

but lack of thought for me. Pure selfishness. I soldbut lack of thought for me. Pure selfishness. I sold

the contents of the house and came down here.the contents of the house and came down here.

I think of him in certain lights, dawn, late afternoon,I think of him in certain lights, dawn, late afternoon,

and once a bowl of apples stopped me dead. I miss most,and once a bowl of apples stopped me dead. I miss most,

even now, his hands, his warm hands on my skin, his touch.even now, his hands, his warm hands on my skin, his touch.

In a poignant line, she remembers fondly their once full, physical relationship and mourns its passing:. In a poignant line, she remembers fondly their once full, physical relationship and mourns its passing:. The The repetition - repetition - of the words “hands” emphasises too that his touch, once a potent symbol of their intimacy is now of the words “hands” emphasises too that his touch, once a potent symbol of their intimacy is now lost forever. The final line is one that could be spoken by millions of women who have lost their life partner (the lost forever. The final line is one that could be spoken by millions of women who have lost their life partner (the last word of the poem being the most significant). Of course, the situation described in the poem is “fantastic” in last word of the poem being the most significant). Of course, the situation described in the poem is “fantastic” in the true sense of that word, but the sentiment is real enough. Relationships are often ruined through idiocy or the true sense of that word, but the sentiment is real enough. Relationships are often ruined through idiocy or greed.greed.

The final Stanza stresses Mrs Midas’ anger and reflection at her husband’s ‘pure selfishness’ in making his wish The final Stanza stresses Mrs Midas’ anger and reflection at her husband’s ‘pure selfishness’ in making his wish which has not only affected him but also deprived both of any physical relationship but also of his wife’s chance which has not only affected him but also deprived both of any physical relationship but also of his wife’s chance to have her dream baby. to have her dream baby.

She still loves her husband She still loves her husband although they can never be although they can never be together. She thinks about together. She thinks about him frequently and, as is him frequently and, as is typical with people who are typical with people who are forced apart for whatever forced apart for whatever reason, things she sees reason, things she sees can suddenly remind her of can suddenly remind her of him and what she has lost him and what she has lost

However, even after all her However, even after all her anger has been unleashed, the anger has been unleashed, the stanza resonates with a sense stanza resonates with a sense of loss and grief. She is still left of loss and grief. She is still left alone with nothing but a wistful, alone with nothing but a wistful, regretful sense of loss for the regretful sense of loss for the man she married. man she married.

War Photographer. Comfort and Indifference v Suffering and Pain A reporter’s duty is to tell the...

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