English Literature: Paper 2Poetry

Power and Conflict

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Contents:

• Glossaryofkeydevices• Informationaboutthesocial/historicalcontextsofeachpoem• Keyinformationonthemes• Keynotesonthestructureofthepoems• PoetryRevisiongrid

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ThePoems:

PercyByssheShelley OzymandiasWilliamBlake LondonWilliamWordsworth Extractfrom,ThePreludeRobertBrowning MyLastDuchessAlfredLordTennyson TheChargeoftheLightBrigadeWilfredOwen ExposureSeamusHeaney StormontheIslandTedHughes BayonetChargeSimonArmitage RemainsJaneWeir PoppiesCarolAnnDuffyWar PhotographerImtiaz Dharker TissueCarolRumens TheÉmigreeJohnAgard CheckingOutMeHistoryBeatriceGarland Kamikaze

GLOSSARYOFDEVICESAlliteration–Wordsbeginning withsamelettersounds tocreateanotablyemphasisonwords“darkdrearydreams”Assonance- Likealliteration,thesoundofassonancecomefromwithinthewordratherthanthestart“Fearfultearsofmisery”(emphasisonthee-a-ssoundsConsonance– Consonantsoundsattheendofwords“wetsetofregrets”Cacophony–Harshsounds inordertomakeadiscordantsound.“darkknuckleswrappingacrossbricks”(oftenKs,Ts,Cks)Onomatopoeia–Words thatsound liketheeffecttheydescribe“splash,slap,crack”Repetition– Repeatingwordsoveraverse,stanzaorpoemtodrawfocusandaddemphasis.Rhyme–Wordswithsimilarendingsoundscreatingamusiclikeeffectorflow“theme/stream/dream”Rhythm– Organisationofwordstocreateanoticeablesoundorpace,notnecessarilymusicalbutwithaclear‘beat’.Canincludethestructureof theworkandisoftenmeasuredinsyllables.Allegory– Something symbolic,anallegorycanoftenbeastorythatrepresentslargerthings, likethetortoiseandthehare.Allusion– Referringtosomethingwellknown, nowadaysthatcouldbeacelebritybutitcouldbeanything thatfitsthecontextofthepoem(Shakespearewillmakeveryoldallusionswedon’tunderstand).Ambiguity/Ambiguous–Awordorideameaningmorethanonething toprovoke thought.Analogy– Comparesomething unfamiliarwithsomething familiartohelppeopleunderstand.Cliché– Somethingwhichisusedagreatamountandbecomesexpectedorevencheesy,“rainingcatsanddogs”.Connotation/Connote– Theassociationswithaworde.g.Rose– LoveandPassion.Contrast– Closelyplacedideaswhichareoppositesorverydifferent.‘Hehadcoldeyesbutawarmheart’

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Verse– Alineorpoem,neednotbeacompletesentence.Stanza– Acollectionofversessimilartoaparagraph,separatedfromotherstanzas.RhetoricalQuestion– Aquestion intended toprovoke thoughtwithoutexpectingananswer.RhymeScheme– Regularorirregular(does itfollowapatternornot)popularexamplesarealternaterhymesabab,crossrhymeabba,orcoupletsaabb.Enjambment–Asentenceoron-goingpieceoftextcarriedoverversesorstanzastocontinuethespokeneffectwithoutpause.Form– Open(no realpatternorrhymeorlength), closed(followsaspecificformorpattern), couplets(pairsofrhyming lines),quatrains(stanzaof4lines,often rhyming), blankverse(iambicpentameterwithnotconsistentrhyme).FixedForms– SomeexamplesincludeSonnets(3quatrainsandacouplet),Ballads(largepoems inquatrainsoftentellingastory)PatheticFallacy– Usingweatherorenvironment toreflectthethemesandcontextsofthepoem,e.g.ahorrorgenremayinvolveadarkstormynight, joyfulpoemsmayuseasunnymeadow.Foreshadowing– Contentinthepoemwhichgivesanindicationofthedirection thepoemwilltake,allowspeople toguesswhatwillhappenorthepoettopreparethereader.Tone/Mood– Thewayapoemorspeakerisintended tosound,oftensuggestedbythetopic,contentandstructure.Thiscanbeverysubjectiveandisoftendeterminedbylookingatthepoeminitsentirety.Denotation/Denote- Theliteraldefinitionof somethingwithout readingtodeeplyintoit.Euphemism– Wheresomething distastefulissaidinamoreacceptableway‘sheisatpeace’– sheisdeadHyperbole– Anoverthetopexaggerationforeffect.Metaphor– Directcomparisonoftwothings.Statesonething isoractsasanotherwithoutusingwords‘like’or‘as’Oxymoron– Twowordsplacedtogetherwithdifferingmeanings tocreateanewmeaning ‘bittersweet’Paradox–Asituationorstatementwhichcontradictsitself.‘thetallerIgettheshorterIbecome’.Personification– Describinganinanimateobjectoranimalwithhumanqualities.Pun– usingwordswithmultiplemeaningswhileintendingboth,oftenusedforcomiceffect.Simile– Comparing twoormoreobjectswithwords‘like’or‘as’ 4

Ozymandias

Theuseoftheplaque ishugelyironic, inthatthemessageOzymandiaswanted toleaveashislegacytotheworld ispreciselyopposite tothemessagetheworld receives.The‘despair’maybemoreasaresultofthe realisationthatpower illusoryand temporary, ratherthan‘despair’ thatnobody couldeverhope tocompetewithOzymandias’glory.

Context– WrittenbyShellyinacollection in1819, itwasinspiredbytherecentunearthingofpartofalargestatueoftheEgyptianPharaoh, RamessesII.TheEgyptiansPharaohs likeRamessesbelievedthemselvestobeGodsinmortal formandthattheir legacywould lastforever.Thereferenceto thestonestatueislikelyadirectreferencetothestatuesandsculptures liketheonewhichwasunearthed, which theancientEgyptiansmade.Onthebaseofthestatueiswritten (translated)“KingofKingsamI,Ozymandias.IfanyonewouldknowhowgreatIamandwhereIlie,lethimsurpassoneofmyworks.”

Themes– LookingatpowerandconflictwecanimagineOzymandiasasapowerful rulerwhoseeshimselfas‘KingofKings’perhapsagreatwarriorandoneofthemostpowerfulmenintheworld.Thepoem isalmostbeingironic,pointing outthatnowallthatremainsisanarrogantboastonaruined statue.Perhaps thepoet feelssorryforhimor islaughingathisexpense.Eitherwayitlooksabout the inevitabledownfallofallrulersand tyrants,andhownothing notevenpower, lastsforever.

Structure– Writteninasonnetwithlooseiambicpentameter. Iambicpentameterispairs(iams,ofsounddo–dum)with5(pentameter,thinkofpent likeinpentagon)inalinemaking10syllablesoverall.Sonnetsweregenerallypopular romanticorlovepoems,perhaps thisbeingalovepoemaboutOzymandias,ajokeabout rulersego.Orsimplytocapture theromanticandexotictoneofalegend.Therhymeschemeisirregular,perhapssymbolicofthebrokenstatueitself,nolongerperfect.

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OzymandiasImetatraveller fromanantique landWhosaid:Twovastandtrunkless legsofstoneStandinthedesert.Nearthemonthesand,Halfsunk,ashatter’d visagelies,whosefrownAndwrinkledlipandsneerofcoldcommandTellthatitssculptorwellthosepassionsreadWhichyetsurvive, stamp’d ontheselifelessthings,Thehand thatmock’d themandtheheartthatfed;Andonthepedestalthesewordsappear:‘MynameisOzymandias,kingofkings:Lookonmyworks,yeMighty,anddespair!’Nothingbesideremains.Round thedecayOfthatcolossalwreck,boundless andbare,Theloneandlevelsandsstretchfaraway.

PERCYBYSSHESHELLEY

London

Themes:Lookingatpowerandconflictthisisapoemwhichismoreaboutthelackofpowerandabuseofpower.Thepoemissetinthecapitalofthemostpowerfulcountryintheworldandyetwordslike‘manacles’suggestslaverywhilethesoldierssigh‘runsinblooddownpalacewalls’aclearcontrastbetweenthosewithpowerandthosewithout.

Structure:Writteninfourstanzaswitharegularalternatescheme.ThismayreflecttheregularwalkingpaceofthenarratorashewalksaroundLondon.Thelastlineineachstanzatendstodeliverapowerfulstatementwhichsumsuptherestofthestanza.Stanza1focussesonmisery,Stanza2onpeoplesrefusaltostandtall,Stanza3thewaypeoplearesacrificedfortherichandthepowerful,Stanza4howallthispovertyiscorruptingeverythinggoodaboutfamilylife.

Context– WilliamBlakewasapoetinVictorian/GeorgianEngland,hewroteaselectionofpoemsinhisanthologiessongsofinnocencefromexperience,mostofthosepoemshadacounterpart.Theexperiencepoemswereoftenmorebitterandcynicalwhereastheinnocencepoemswereoftennaïveandsimple.Londonisoneoffewwithoutacounterpart.ThepoemissetduringatimeinEnglandwheretherewaspoverty,childlabourandahorrificwarwithFrance.Womenhadnorights,deathratesfromdiseaseandmalnutritionwerehighandtheindustrialrevolutionhasresultedinmanylargeoppressivefactories.Blake’spoemsoftenrailedagainsttheseandhowLondon,arguablythegreatestcityintheworldatthattime,wassodirtyandcorrupt.

RevolutionandPeoplePower:DuringthistimeFrancehadthrownoffandexecutedtheirKing.Thepeople’srevolutionwasmeanttoshowthatallmenareequalandhavepower.InBritain,acountrywithanoldmonarchyandaristocracy,thiswasscary.Blakeisperhapssupportingrevolution,askingpeopletothrowoffthe‘manacles’oftheirbeliefthattheyshouldbetoldwhattodo.

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LondonIwanderthrough eachcharteredstreet,NearwherethecharteredThamesdoesflow,AndmarkineveryfaceImeetMarksofweakness,marksofwoe.

Ineverycryofeveryman,Ineveryinfant’scryoffear,Ineveryvoice,ineveryban,Themind-forgedmanaclesIhear:

Howthechimney-sweeper’scryEveryblack’ning churchappalls,And thehaplesssoldier’s sighRunsinblooddownpalacewalls.

Butmostthroughmidnight streetsIhearHowtheyouthful harlot’scurseBlaststhenew-borninfant’stear,Andblightswithplaguesthemarriagehearse.

WilliamBlake

ExtractfromthePreludeStructure–Writtenaspartofamuchlargerpiece.Thissectionis44linesinblankverse(norealstructure).Theworkisiniambicpentametertogiveitaconsistentpace.Asthepoemprogressesthejourneythepoetisonbecomesrougherandwordslike‘and’arerepeatedtogiveitabreathlesspaceandfeel.

Themes– thepoemisquitehardtorelatetoconflictandpower.However,thereisasenseofconflictbetweenmanandnaturewherenatureiseventuallyshowntobemorepowerfulintheend.

Context– WilliamWordsworthwasaromanticpoet,wedon’tmeanhewrotelovepoems,buthewrotepoemsabouttheworldweliveinwhichchallengedpeopleandthewaytheythoughtatthetime.Duringthistime’epic’poemsoflargelengthwerecommon,aswerethepoemswhichlookedattheworldandman’splacewithinit.Thisextractisfromamuchlargerpoem,itlooksatthespiritualandmoraldevelopmentofamangrowingup.

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Extractfrom,ThePrelude

Onesummerevening(ledbyher)IfoundAlittleboattiedtoawillowtreeWithin arockycove,itsusualhome.StraightIunloosed herchain,andsteppinginPushed fromtheshore.ItwasanactofstealthAndtroubledpleasure, norwithoutthevoiceOfmountain-echoes didmyboatmoveon;Leavingbehindherstill, oneitherside,Smallcirclesglitteringidlyinthemoon,UntiltheymeltedallintoonetrackOfsparklinglight.Butnow,likeonewhorows,Proudofhisskill, toreachachosenpointWithanunswerving line, IfixedmyviewUponthesummitofacraggyridge,Thehorizon’s utmostboundary; faraboveWasnothing butthestarsandthegreysky.Shewasanelfin pinnace;lustilyIdippedmyoarsintothesilentlake,And, asIroseupon thestroke,myboatWentheavingthroughthewaterlikeaswan;When, frombehind thatcraggysteeptillthenThehorizon’s bound, ahugepeak,blackandhuge,Asifwithvoluntarypowerinstinct,Upreared itshead.Istruckandstruckagain,

AndgrowingstillinstaturethegrimshapeToweredupbetweenmeandthestars,andstill,Forsoitseemed,withpurpose ofitsownAndmeasuredmotionlikealivingthing,Strodeafterme.WithtremblingoarsIturned,AndthroughthesilentwaterstolemywayBacktothecovertofthewillowtree;Thereinhermooring-place Ileftmybark,–Andthroughthemeadowshomewardwent,ingraveAndseriousmood;butafterIhadseenThatspectacle,formanydays,mybrainWorkedwithadimandundetermined senseOfunknownmodesofbeing;o’ermythoughtsTherehungadarkness, callitsolitudeOrblank desertion.NofamiliarshapesRemained,nopleasantimagesoftrees,Ofseaorsky, nocolours ofgreenfields;Buthugeandmightyforms, thatdonotliveLikelivingmen,movedslowly throughthemindByday,andwereatroubletomydreams.

MyLastDuchess

Structure:Thepoemisanexampleofdramaticmonologue (aspeechgivenbyonecharacter)Itusesalargenumberofpauses(caesuras)inthepoemalongwithlinesthatflowintooneanother(enjambment)inordertotryandcapturethetoneofthespeakertalkingawaytothemessengerandaddingintangents(smallopinionsandasides).Thepoemusesrhymingcoupletsandiambic pentameterthisreflectsthestyleofromanticpoetsatthetime,despitehowthispoemismuchmoresinisteranddark.ItisanotherfaçadefortheDukeofFerrara’scharacter.Youwillnoteheistheonlycharacterthatspeaksdespitethefactheistalkingtosomeone,heneverletsthemspeak.

Themes:TheideaofPowerandConflictisshowninthewaythespeaker(theDukeofFerrara)isshowingoffhispowerandalsosuggestingthecontrolhehadoverhistheDuchess’slife.Thereisalsoconflictbetweenwhohepresentsorwantshimselftobeandwhohereallyisasacharacter.

Context– RobertBrowning(1812-1889)wasamasterofthedramaticmonologue,aformusingapersonawhospeaksdirectlytoanimaginedlistener,therebydramatisingthespeaker’swordsandallowingustojudgethepersona’scharacter.‘MyLastDuchess’(1842)isbasedonrealfigures:TheDuchessisthoughttobethefirstwifeoftheDukeofFerrara,whodiedthreeyearsintotheirmarriage.BrowningwasagreatadmireroftheworksofShelley,andthispoemdisplaysasimilarcritiqueofautocraticrule– inthiscasethenobilityoftheItalianRenaissance.

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MyLastDuchess

FerraraThat’smylastDuchesspaintedonthewall,Lookingasifshewerealive.IcallThatpieceawonder, now:Frà Pandolf’s handsWorkedbusilyaday,andthereshestands.Will’t pleaseyousitandlookather? Isaid‘Frà Pandolf’ bydesign, forneverreadStrangerslikeyouthatpicturedcountenance,Thedepthandpassionofitsearnestglance,Buttomyselftheyturned (sincenoneputsbyThecurtainIhavedrawnforyou,but I)Andseemedastheywouldaskme,iftheydurst,Howsuchaglancecamethere;so,notthefirstAreyoutoturnandaskthus.Sir,’twasnotHerhusband’spresenceonly, calledthatspotOfjoyintotheDuchess’cheek:perhapsFrà Pandolf chancedtosay‘HermantlelapsOvermylady’swristtoomuch,’or‘PaintMustneverhopetoreproducethefaint

Half-flushthatdiesalongherthroat’:suchstuffWascourtesy,shethought, andcauseenoughForcallingup thatspotofjoy.ShehadAheart– howshallIsay?– toosoonmadeglad,Tooeasilyimpressed; shelikedwhate’erShelookedon,andherlookswenteverywhere.Sir, ’twasallone!Myfavour atherbreast,Thedropping ofthedaylightintheWest,Thebough ofcherriessomeofficious foolBrokeintheorchardforher, thewhitemuleSherodewithround theterrace– allandeachWoulddrawfromheraliketheapproving speech,Orblush, atleast.Shethankedmen,– good!but thankedSomehow– Iknownothow– asifsherankedMygiftofanine-hundred-years-oldnameWithanybody’sgift.Who’dstooptoblameThissortof trifling?EvenhadyouskillInspeech– (whichIhavenot)– tomakeyourwillQuitecleartosuchanone,andsay,‘JustthisOrthatinyoudisgustsme;hereyoumiss,Orthereexceedthemark’– andifsheletHerselfbelessonedso,norplainly setHerwitstoyours, forsooth,andmadeexcuse,

– E’en thenwouldbesomestooping;andIchooseNevertostoop.Ohsir,shesmiled,nodoubt,Whene’er Ipassedher;butwhopassedwithoutMuchthesamesmile?Thisgrew;Igavecommands;25Thenallsmilesstoppedtogether.ThereshestandsAsifalive.Will’t pleaseyourise?We’llmeetThecompanybelow, then.Irepeat,TheCountyourmaster’sknownmunificenceIsamplewarrantthatnojustpretenceOfminefordowrywillbedisallowed;Thoughhisfairdaughter’s self,asIavowedAtstarting,ismyobject.Nay,we’llgoTogetherdown, sir.NoticeNeptune, though,Tamingasea-horse,thought ararity,WhichClausofInnsbruckcastinbronze forme!

ROBERTBROWNING

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ChargeoftheLightBrigade

Themes:Thepoemisaboutwar,lifeanddeath,sacrificeandfolly.Itnaturallylinkstoconflictandiseffectiveatshowingpeopleviewsonwarofthetime.Thepoemalsocontainsalotofreferencetobiblical/religiousideasaswellasbraveryandfear.

Context:TheCrimeanwarsawBritishtroopsfightinginRussia.Atthistime,whiletherewerebasicgunsandcannons,peoplewouldstillalsofightonhorses,torushinandattackbeforetheycouldreloadorstopthem.However,thelightbrigadewereverylightlyequipped,moreforscoutingorattackingfromthebackorsidesratherthanchargingstraightin.Duringabattle,amiscommunicationsentthelightbrigadechargingheadfirstintothecannonsoftheotherside,itwasahuge catastropheandmanydied.ItshowedtotheBritishthatevenmistakescanhappen.Themenwererespectedforfollowingorders,eventhoughtheyknewtheymay bewrong.Somehoweverhavecriticisedthewaytheyblindlyfollowedorders.LordTennysonwasthepoetwhowasaskedtowriteabouttheirglorioussacrifice.

ValleyofDeath:TheChristianprayer, ‘TheLordsPrayer’containstheline‘thoughImaywalkthroughthevalleyofdeath’.Thisphrasebeingusedinthepoemisusedtoshowthescaleofimportanceandgivethepoemanepicquality.

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TheChargeoftheLightBrigade

1.Halfaleague,halfaleague,Halfaleagueonward,AllinthevalleyofDeathRodethesixhundred.‘Forward,theLightBrigade!Chargefortheguns!’hesaid:IntothevalleyofDeathRodethesixhundred.

2.‘Forward,theLightBrigade!’Wasthereamandismay’d?Nottho’thesoldierknewSomeonehadblunder’d:Theirsnottomakereply,Theirsnottoreasonwhy,Theirsbuttodoanddie:IntothevalleyofDeathRodethesixhundred.

3.Cannontorightofthem,Cannonto leftofthem,CannoninfrontofthemVolley’d andthunder’d;Storm’d atwithshotandshell,Boldlytheyrodeandwell,IntothejawsofDeath,IntothemouthofHellRodethesixhundred.

4.Flash’d alltheirsabres bare,Flash’d astheyturn’d inairSabring thegunnersthere,Charginganarmy,whileAlltheworldwonder’d:Plungedinthebattery-smokeRightthro’the linetheybroke;CossackandRussianReel’d fromthesabre-strokeShatter’d andsunder’d.Thentheyrodeback,butnotNotthesixhundred.

5.Cannontorightofthem,27Cannonto leftofthem,CannonbehindthemVolley’d andthunder’d;Storm’d atwithshotandshell,Whilehorseandherofell,TheythathadfoughtsowellCamethro’thejawsofDeathBackfromthemouthofHell,Allthatwasleftofthem,Leftofsixhundred.

6.Whencantheirgloryfade?Othewildchargetheymade!Alltheworldwonder’d.Honour thechargetheymade!Honour theLightBrigade,Noblesixhundred!

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Exposure

Structure:Thepoemusesalargeamountofellipses,caesurasandrepetitiontocreateanon-goingsenseofwaitingandboredom.Thepoemismadeofeightstanzaswithaconsistentuseofahalflinetotheend.Thisreinforcesthesenseofstasisorsamenessthroughoutthepoemthatnothingishappening.Thereisuseofpara-rhymeshowingwordsthatappearstorhymeyetsoundwrongwhenreadtocreatethesenseofunsettlednessinthepoemthesoldiersarefelling.Owenalsousesahugeamountofonomatopoeia andalliteration inthepoemtoemphasisetheatmosphereandthesoundoftheweather.

Context- OwenwasanEnglish poetwhoseworkwascharacterisedbyhisangeratthecrueltyandwasteofwar,which heexperiencedduring serviceontheWesternFront.WilfredEdwardSalterOwenwasborn18March1893inOswestry,Shropshire.Hebeganwritingpoetryasateenager.In1915heenlistedinthearmyandwascommissionedintotheManchesterRegiment.AfterspendingtheremainderoftheyeartraininginEngland,heleftforthewesternfrontearlyinJanuary1917.Afterexperiencingheavyfighting,hewasdiagnosedwithshellshock.HewasevacuatedtoEnglandandarrivedatCraiglockhartWarHospitalnearEdinburghinJune.HereturnedtoFranceinAugust1918andinOctoberwasawardedtheMilitaryCrossforbravery.On4November1918hewaskilledwhileattemptingtoleadhismenacrosstheSambrecanalatOrs.Thenewsofhisdeathreachedhisparentson11November,ArmisticeDay

Themes:Thepoemitselfisbasedonwarandsolinkstoconflict.Thepoemitselfisabouttheweatherconditionsoflivinginthetrenchesratherthananyfighting.Itismoreapoemabouttheconflictbetweenmanandnature.Thisisextremelyrelevantbecausemanhascreatedmachinesthatcanlaunchexplosivesshellsformilesanddestroythelandscapeandyet,naturecanstilldomoreharmthananyofit.

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Exposure

1.Halfaleague,halfaleague,Halfaleagueonward,AllinthevalleyofDeathRodethesixhundred."Forward,theLightBrigade!"Chargefortheguns!"hesaid:IntothevalleyofDeathRodethesixhundred.

2."Forward,theLightBrigade!"Wasthereamandismay'd?Nottho'thesoldierknewSomeonehadblunder'd:Theirsnottomakereply,Theirsnottoreasonwhy,Theirsbuttodoanddie:IntothevalleyofDeathRodethesixhundred.

3.Cannontorightofthem,Cannonto leftofthem,CannoninfrontofthemVolley'd andthunder'd;Storm'd atwithshotandshell,Boldlytheyrodeandwell,IntothejawsofDeath,IntothemouthofHellRodethesixhundred.

4.Flash'd alltheirsabres bare,Flash'd astheyturn'd inair,Sabring thegunnersthere,Charginganarmy,whileAlltheworldwonder'd:Plungedinthebattery-smokeRightthro'thelinetheybroke;CossackandRussianReel'd fromthesabrestrokeShatter'd andsunder'd.Thentheyrodeback,butnotNotthesixhundred.

5.Cannontorightofthem,Cannonto leftofthem,CannonbehindthemVolley'd andthunder'd;Storm'd atwithshotandshell,Whilehorseandherofell,TheythathadfoughtsowellCamethro'thejawsofDeathBackfromthemouthofHell,Allthatwasleftofthem,Leftofsixhundred.

6.Whencantheirgloryfade?Othewildchargetheymade!Alltheworldwondered.Honorthechargetheymade,HonortheLightBrigade,Noblesixhundred.

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StormontheIsland

Imagesofterroristviolencecanbefoundthroughoutthepoem.Suchas‘blast,exploding,fearandbombardeddescribetheliteraltermbutalsorepresentsthestormofviolencehappeningin‘NorthernIreland’duringtheTroubles.Firsteightlettersofthetitlespellouttheword‘STORMONT’thenameoftheGovernmentbuildingsinNorthernIreland.ThewordIslandalsohasaphoneticsimilarity toIreland.Thereforethepoemworksontwolevels:asadescriptionofthestormandasanextendedmetaphorforthepoliticalsituationinNorthernIreland.

Context: SeamusHeaneywasborninNorthernIrelandin1939,theeldestchildinwhatwastobecomeafamilyofninechildren.MuchofHeaney’spoetryiscentredonthecountrysideandfarmlifethatheknewasaboy.HewonascholarshiptotheCatholicboardingschool,StColumb’sCollege,Derry.Inthe1960shebelongedtoagroupofpoetswho,hesaid,usedtotalkpoetrydayafterday.Hehaswrittenmanycollectionsofpoetry,thefirstofwhichwaspublishedin1966.HewasappointedProfessorofPoetryatOxfordUniversityin1989andwasawardedtheNobelPrizeforLiteraturein1995.Thepoemissetaroundastoryofasmallisolatedcottageneartheseainastormandtheexposuretotheelements.

Structure:Thepoemisinblankversewith19lines.Thereare5feet(10syllables)ineachline.Theversesareunrhymedanditgivesaverycontroversialtone.Thisisaddedtobytheuseofasides‘youknowwhatImean’.Thepoemisinpresenttensetosuggestthestormisoccurringatthetime.Thepoemusesagreatdealofenjambmenttohelpaddtothecontroversialtone.

Themes:Thepoemlooksattheconflictbetweennatureandmanandpeoplesfearoftheweather.Howeverthepoetalsopointsoutthatthefearsarereallyrathersmallinthegrandscheme.Thereisalsoahintofwarandconflictinthewaytheweatherdescribedwith“bombardment”and“salvo”.

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StormontheIslandWeareprepared:webuildourhousessquat,Sinkwallsinrockandroofthemwithgoodslate.ThiswizenedearthhasnevertroubledusWithhay,so,asyousee,therearenostacksOrstooks thatcanbelost.NoraretheretreesWhichmightprovecompanywhenitblowsfullBlast:youknowwhatImean– leavesandbranchesCanraiseatragicchorus inagaleSothatyoucanlistentothethingyoufearForgetting thatitpummelsyourhouse too.Buttherearenotrees,nonaturalshelter.Youmightthinkthattheseaiscompany,ExplodingcomfortablydownonthecliffsButno:whenitbegins, theflungsprayhitsTheverywindows, spitslikeatamecatTurnedsavage.WejustsittightwhilewinddivesAndstrafesinvisibly.Spaceisasalvo,Wearebombarded bytheemptyair.Strange,itisahugenothing thatwefear.

BayonetCharge

Vocabulary choice– Hughesusesonomatopoeia,alliterationandassonanceandthesensestobringtheimagestolife.‘Stumblingacross…’isanawkwardlinetoread,evokingthesensationofrunningacrossamuddyfield.‘Bulletssmackingthebelly’isaviolentimageemphasisedbysoundandalliteration.Theassonanceof‘lugged’and‘numb’drawsattentiontothesimileanditsmeaning.

Context:Thepoemisaboutanamelesssoldiergoingoverthetopinthetrenches.Soldierswouldhavebayonetsattachedtotheirriflesandwouldusethemtostabenemysoldiers.Thenamelesssoldierinthepoemseemstobecomemoreaweaponthanaman,rushingtowardtheenemy.Itisnotclearattheendwhetherhediesbutthereisdefinitelyachangeinhim.Hisactionsareveryrawandprimal,muchlikeananimal,suddenlypausing,preparingtoreact.Thepoet,TedHughes,wasaformerRAFservicemanandincludesagreatamountofnaturalandhistoricalideasinhispoemsandheoftenlooksatman’simpactonnature.

Themes:Thepoemissetaroundconflictinthatitisasoldierrushingoutofthetrenchesontheattack.Howeverthepoemalsolooksatideasliketransformation,humanityandnature(intheformoftheyellowhareandthegreenhedge).Inthepoemthesoldierisalmostmoremachineoranimalthanhumanandthisisreflectedinthepowerthemedwordsusedtodescribehim.

Structure:Therearethreestanzasandtheworkislargelyblankversewithnosetstructure.Inpartthedifferentlineshelpshowthepaceofthecharge,sometimesfast,sometimesstumbling.Towardstheenditpicksupspeed,perhapsasheapproacheshisdestinationordoom.Thepoetusesalotofenjambment andcaesuras togiveabizarreerraticspeedtothepoem.Thishelpsagaingiveastructuretothechargebutalsotheconfusionandintensityofthebattlewithexplosionsandgunfireaswellasthejumbledthoughtsofthesoldier.

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BayonetCharge

Suddenlyheawokeandwasrunning– rawInraw-seamedhotkhaki,hissweatheavy,StumblingacrossafieldofclodstowardsagreenhedgeThatdazzledwithriflefire,hearingBulletssmackingthebellyoutoftheair–Heluggedariflenumbasasmashedarm;ThepatriotictearthathadbrimmedinhiseyeSweatinglikemoltenironfromthecentre ofhischest,–

Inbewildermentthenhealmoststopped–InwhatcoldclockworkofthestarsandthenationsWashethehandpointingthatsecond?HewasrunningLikeamanwhohasjumpedupinthedarkandrunsListeningbetweenhisfootfallsforthereasonOfhisstillrunning,andhisfoothunglikeStatuaryinmid-stride.Thentheshot-slashedfurrows

ThrewupayellowharethatrolledlikeaflameAndcrawledinathreshingcircle,itsmouthwideOpensilent,itseyesstandingout.Heplungedpastwithhisbayonettowardthegreenhedge,King,honour,humandignity,etceteraDroppedlikeluxuriesinayellingalarmTogetoutofthatbluecracklingairHisterror’stouchydynamite. 16

Remains

Structure:Thepoemiswrittenineightstanzas,thelastofwhichisacoupletwhichleavesthepoemonadramaticendnote.Isdoesnotrhymeandthepoemisamonologue,usingverycontroversialasidesandsyntaxtostructurethesentencesintoaverycontroversialtone“endofstory,notreally”.Thereisalsoalotofenjambment andcaesura usedtoemphasisethenaturalspeechpatternsofthespeaker.Anotherkeyfactorinthispoemistheuseofcolloquialism(slang)andpersonalpronouns togiveitasenseofrealism, “oneofmymates”.Thereisaloosesetofrhymesinthepoem,ofteninternalandusedtogiveanalmostchildishaspecttothehorrorofthewarzonesuggestshownumbthissoldieristowhatishappening.

Context:ThepoemiswrittenfromtheperspectiveofasoldierstationedinIraqorAfghanistan(oranywarzonereally).Theyareonpatrolandfireonsomebankrobbers.Oneofthelootersappearedtopossiblehaveagunsotheyopenfire.Therestofthepoemislookingatthesoldier,evenlongafterthisevent,cannotleavethememorybehindandcarriesthisdeadmanwithhiminhismind.Posttraumaticstressandmentalillnessisverycommoninsoldierswhostruggletocometotermswithsomepartoftheirduty,ahorrificmemoryofkillingorbeingindangerwhichgivesthemnightmaresandpanicattacksaswell asdepressionandsometimessuicidaltendencies.SimonArmitageisafamousU.Kpoetwhoisknownforbeingverydirectinhiswork.Hisrecentpoemshavelookedattheexperiencesofwarandsoldiers.

Themes:Thepoemisoriginallysetinawarzoneandnaturallylooksatconflictinadirectway.However,italsolooksheavilyattheaftereffectsofconflictandthelongtermeffectsithasonthepeopleinvolved.Powerispartlyshowninthisaswell,firstlythesoldierspoweroverlifeanddeathbutlaterthepowerovertheirmemoryandexperiences.Mentalhealthandmoralityarealsokeyinthis.

17

RemainsOnanotheroccasion,wegetsentouttotacklelootersraidingabank.Andoneofthemlegsituptheroad,probablyarmed,possiblynot.

Wellmyselfandsomebody elseandsomebodyelseareallofthesamemind,soallthreeofusopen fire.Threeofakindalllettingfly,andIswearIseeeveryroundasitripsthrough hislife–Iseebroaddaylightontheotherside.Sowe’vehitthislooteradozentimesandhe’sthereon theground, sortofinsideout,

painitself,theimageofagony.Oneofmymatesgoesbyandtosseshisgutsbackintohisbody.Thenhe’scartedoffinthebackofalorry.

Endofstory,exceptnotreally.Hisblood-shadowstaysonthestreet,andoutonpatrolIwalkrightoveritweekafterweek.ThenI’mhomeon leave.ButIblink

andheburstsagainthrough thedoorsofthebank.Sleep,andhe’sprobablyarmed,possiblynot.Dream,andhe’stornapartbyadozenrounds.And thedrinkandthedrugswon’tflushhimout–

he’shereinmyheadwhenIclosemyeyes,dug inbehind enemylines,notleftfordeadinsomedistant,sun-stunned, sand-smothered landorsix-feet-underindesertsand,

butneartotheknuckle,hereandnow,hisbloody lifeinmybloodyhands.

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Poppies

Imagery-Thepoemisdensewithimagery.Textilesfeaturestrongly,withthecentralmetaphoroffelt,indicativeofthewoman’scompressedcompactedfeelings.The‘tucks,darts,pleats’hintattheswooping,gut-wrenchinglurchofheremotionsandlinkwiththe‘ornamentalstitch’attheend– itisalso,perhaps,anumbilicalimageconnectingmotherandson.

Context– Thepoemlooksatamotherofasonwhohasgrownupandgonetowar.Thepoemcontainsmanycluesthatthisisamoremodernconflict,howeverthepoemendsatthememorial,suggestingthesondiedatwarorhasatleastnotyetreturnedhomeandisnowmissedbythemotherwhofearstheworst.ThepoemisbasedveryheavilyaroundtheideaofPoppiesasmemorialsandthereforetheideaofmemory.Thepoemflashestokeymomentsofthelifeofthemotherandson.Thepoemalsocontainsarangeofemotions.Thereisagenuinesadnessbutalsopride.Thepoemdoesnotseemtocommentheavilyonthewaritself.

Themes:Thepoemlookspartiallyatconflictbecauseofthenatureofthesongoingtowar,howeveritlooksatconflictmorefromtheperspectiveofthoseitleavesbehindandtheemotionsofthefamilies. Itisabehindthescenesviewofconflictratherthanaddressingtheconflictitself.Thereisalsoalevelofconflictinthemothersemotions,pride,fear,sadness.

Structure:Writtenasamonologuein4stanzasandnorhymescheme.Thestanzasarestructuredalongeventsinthelifeofamotherandchild.FirstthemotherlooksbackatRemembranceDayandtheideaofthepoppywhichhashelpedtriggerthememory.Secondlythemother talksabouthelpinghersongetreadyandseeinghimoff.Thirdlythepoemexplorestheemptinessthatisleftinhisabsence,finallythemotherfeelsdrawntoawarmemorialbringingthestorybacktowhereitstarted,yetnowwithnosonaround.Thesuggestionofthedovebeingthathehasdied.Thepoemusesalotofenjambmentandfamiliar nounstoenhancetheideaofnaturaltoneandthemothersvoice

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Poppies

ThreedaysbeforeArmisticeSundayandpoppieshadalreadybeenplacedonindividualwargraves.Beforeyouleft,Ipinnedoneontoyourlapel,crimpedpetals,spasmsofpaperred,disruptingablockadeofyellowbiasbindingaroundyourblazer.

Sellotape bandagedaroundmyhand,IroundedupasmanywhitecathairsasIcould,smootheddownyourshirt'supturnedcollar,steeledthesofteningofmyface.Iwantedtograzemynoseacrossthetipofyournose,playatbeingEskimoslikewedidwhenyouwerelittle.Iresistedtheimpulsetorunmyfingersthroughthegelledblackthornsofyourhair.Allmywordsflattened,rolled,turnedintofelt,

slowlymelting.Iwasbrave,asIwalkedwithyou,tothefrontdoor,threwitopen,theworldoverflowinglikeatreasurechest.Asplitsecondandyouwereaway,intoxicated.Afteryou'dgoneIwentintoyourbedroom,releasedasongbirdfromitscage.Laterasingledoveflewfromthepeartree,andthisiswhereithasledme,skirtingthechurchyardwalls,mystomachbusymakingtucks,darts,pleats,hat-less,withoutawintercoatorreinforcementsofscarf,gloves.

OnreachingthetopofthehillItracedtheinscriptionsonthewarmemorial,leanedagainstitlikeawishbone.Thedovepulledfreelyagainstthesky,anornamentalstitch.Ilistened,hopingtohearyourplaygroundvoicecatchingonthewind.

JANEWEIR20

WarPhotographer

Context:Thepoemiswrittenaboutawarphotographerwhohasreturnedhomeandisdevelopinghisphotos.Theprocessofdevelopingoldstylefilmphotosisratherunusualformanytounderstandtoday.Oldstylefilm isverysensitivetolight,soitmustbedoneinthedarkroomlitwithredlight.Thephotoitselfisdevelopedusingchemicalswhichslowlybringoutthephoto,itisthenhungtodry.Allofthiscancreatequiteasinisteratmosphere,redlight,surroundingbyhangingphotosandchemicalsmells.Thepoemisalsolookingatthecontrastbetweenthewarzoneandsafetyofbeingbackhomeandthewaypeoplejustdonotunderstandthetruth,afterallasinglephotocannotshoweverything.Warphotographersdoaverydangerousjob,manyarekilledandinjuredastheymustgetinharmswaytogetthephototheyareafter.

Structure:Writtenin4stanzasthepoemfeaturingrhymingcoupletsinterspacedwithnonrhyminglines.Theregularstructurecanrepresenttheorderheisgivingtothechaosinhisphotos,perhapsalsotheealmostmechanicalprocessheisgoingthroughandputtingthatdistancebetweenhimselfandthecontext.Thepoemiswrittenasanarrative,leadingusthroughtheactofthephotographerprocessinghisphotos,thisagainhelpscreateasenseofdetachmentorevencynicismaboutwhatthisactionreflects,thatpeoplesufferandloseliveandtheendresulttousisafewpictureschosenforthenewspapers.

Themes:Thepoemlooksatconflictinthesensethathehastakenphotosofwarandfighting.However,thereisalsoconflictbetweenthewarzoneand‘RuralEngland’thepoetistryingtoemphasisehowoutoftouchpeopleareabouttruthofwar,aswellashowitismorebusinessorbitofgossipratherthanlifechanginganddestructive. 21

WarPhotographer

Inhisdarkroomheisfinallyalonewithspools ofsufferingsetoutinorderedrows.Theonly lightisredandsoftlyglows,asthoughthiswereachurchandheapriestpreparingtointoneaMass.Belfast.Beirut.PhnomPenh.Allfleshisgrass.

Hehasajobtodo.Solutions slop intraysbeneathhishands,whichdidnottremblethenthoughseemtonow.RuralEngland.Homeagaintoordinarypainwhichsimpleweathercandispel,tofieldswhichdon'texplodebeneaththefeetofrunningchildreninanightmareheat.

Somethingishappening.Astranger'sfeaturesfaintlystarttotwistbeforehiseyes,ahalf-formedghost.Heremembersthecriesofthisman'swife,howhesoughtapprovalwithoutwordstodowhatsomeonemustandhowtheblood stainedintoforeigndust.

Ahundred agoniesinblack-and-whitefromwhichhiseditorwillpickoutfiveorsixforSunday's supplement. Thereader'seyeballsprickwithtearsbetweenthebathandpre-lunchbeers.Fromtheaeroplane hestaresimpassively atwhereheearnshisliving andtheydonotcare.

CAROLANNDUFFY

Tissue

ImtiazDharkerisacontemporaryScottishpoetandfilm-maker.ShewasborninPakistanandherfamilymovedtoGlasgowin1950’swhenshewasstillababy.Herbackgroundandexperienceofdifferentculturesprovidethethemesofherpoetry:culturalidentity,exile,travel,freedomandconflict.Thisisquiteamysteriouspoem.Likethematerialwecalltissue,thepoemseemslightandinsubstantial.However,thereisaconflictwiththepoem(andperhaps,thoughwecanneverbesure)withinthepoet.

Thespeakerinthispoemusestissuepaperasanextendedmetaphor forlife.Sheconsidershowpapercan'alterthings'andreferstothesoftthinpaperofreligiousbooks,inparticulartheQur'an.Therearealsoreallifereferencestootherlastinguseswehaveforpaperinourlivessuchasmaps,receiptsandarchitectdrawings.Eachoftheseitemsisconnectedtoimportantaspectsoflife:journeys,moneyandhome.Theseexamplesdemonstratehowimportantbutalsohowfragilepaperis.Inthefinalstagesofthepoem,thepoetlinkstheideaofabuildingbeingmadefrompapertohumanskin,usingthewords'livingtissue'andthen'yourskin'.Thisisquiteacomplexidea,andthemeaningisopentointerpretation.Shemaybesuggestingthatthesignificanceofhumanlifewill outlasttherecordswemakeofitonpaperorinbuildings.Thereisalsoasenseofthefragilityofhumanlife,andthefactthatnoteverythingcanlast

Structure:Thepoemiswrittenasanongoingmonologuewithsomeinternalrhymethroughthepoem(thoughwithnorealpatterntoit).Itusesenjambmenttocreateaveryhumanandcalmtone.Thepoemstartslookingatthejoyofsimplethingslikewellusedpaperandwonderswhattheworldwouldbeifithadthesamequalities.Thefinalpartofthepoemisbothhopefulandawarning.Againstpridebutinfavourofgrowthandacceptance.

Themes:Thepoemlooksatconflictintermsofdestructionandpoliticsparticularly,ithintsthatwemakeourownconflictbyholdingontootighttopowerandcontrolandactuallytheneedtorelaxandrememberweareallhuman.

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Tissue

Paperthatletsthelightshinethrough,thisiswhatcouldalter things.Paperthinnedbyageortouching,thekindyoufindinwell-usedbooks,thebackoftheKoran,whereahandhaswritteninthenamesandhistories,whowasborntowhom,

theheightandweight,whodiedwhereandhow,onwhichsepiadate,pagessmoothedandstrokedandturnedtransparentwithattention.

Ifbuildingswerepaper,Imightfeeltheirdrift,seehoweasilytheyfallawayonasigh,ashiftinthedirectionofthewind.

Mapstoo.Thesunshinesthroughtheirborderlines,themarksthatriversmake,roads,railtracks,mountainfolds,

Fineslipsfromgroceryshopsthatsayhowmuchwassoldandwhatwaspaidbycredit cardmightflyourloveslikepaperkites.

Anarchitectcoulduseall this,place layeroverlayer,luminousscriptovernumbersoverline,andneverwishtobuildagainwithbrick

orblock,butlet thedaylightbreakthroughcapitalsandmonoliths,throughtheshapesthatpridecanmake,findawaytotraceagranddesign

withlivingtissue,raiseastructurenevermeanttolast,orpapersmoothedandstrokedandthinnedtobetransparent,

turnedintoyourskin.

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TheEmigree

Context:Thepoemsexploresthememoryofthepoetandtheirexperiencesinafaroffcitytheyspenttimeinasachild.Thepoetislookingatthiscitythroughtheeyesofachildandthehappymemoriesshehad,shecomparesthesetothetruthssheknowsasanadultwhichismuchharder.Emigreerelatestothewordemigrate,theideathatapersongoesandsettlesinanothercountry,sometimesnotfeelingwelcometoreturn.ThepoetbasesmanyoftheideasonmodernexamplesofemigrationfromcountrieslikeRussiaortheMiddleEastwherepeoplearefleeingcorruptionandtyranny,orthosecountrieschangeintheirabsencetosomefromofdictatorship.

Themes:Thepoemhasadeepsenseofconflictintermsofemotionsandmemory,thepoetistornbetweenherchildhoodmemoryandheradultunderstanding.Thisalsoreflectsintheformofthecityitselftodaywhichhasbecomeahostiletotalitarianplace.Theconceptofacitycanbeametaphorformemoriesandgrowthingeneral,progressionfromchildhoodtomaturity.

Structure:Thepoemfollowsathreestanzastructurewithrepetitiveelementssuchastheideaof‘sunlight’.Theopeningofthepoemseemstoencompassthespeakertryingtocapturethememory,thesecondstanzabuildsonthedetailsofthis,fleshingoutthecityinhermind,finallythepoemseemstoveertowardsanideaoffacinguptothemoderndarkplacehercityofmemoryhasbecome.Thepoemdoesnothaveaparticularlyconsistentstructureoranyuseofrhyme,thisperhapsencapsulatethestilluncertainunderstandingofthespeakerabouthercity,thisisfurtherenhancedbysomeoftheunusualandunnaturallinksbetweenidea’sandchoiceofmetaphors.Thepoemusesenjambmenttocreateaflowingpacetotheworkofanarrativespeaker.

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TheEmigree

Thereoncewasacountry…Ileftitasachildbutmymemoryofitissunlight-clearforitseems IneversawitinthatNovemberwhich, Iamtold,comestothemildestcity.TheworstnewsIreceiveofitcannotbreakmyoriginalview,thebright,filled paperweight.Itmaybeatwar,itmaybesickwithtyrants,butIambrandedbyanimpression ofsunlight.

Thewhitestreetsofthatcity,thegracefulslopesglowevenclearerastimerollsitstanksandthefrontiersrisebetweenus,closelikewaves.Thatchild’s vocabularyIcarriedherelikeahollowdoll, opens andspills agrammar.Soon Ishall haveeverycoloured moleculeofit.Itmaybynowbealie,bannedbythestatebutIcan’tgetitoffmytongue.Ittastesofsunlight.

Ihavenopassport, there’snowaybackatallbutmycitycomestomeinitsownwhiteplane.Itlies downinfrontofme,docile aspaper;Icombitshairandloveitsshiningeyes.Mycitytakesmedancingthroughthecityofwalls.Theyaccusemeofabsence, theycircleme.Theyaccusemeofbeingdarkintheirfreecity.Mycityhides behindme.Theymutterdeath,andmyshadowfallsasevidenceofsunlight.

CheckingOutMeHistoryContext:Thepoemlooksthroughthevoiceandexperiencesofthepoetatourunderstandingofidentitythroughhistory.Welookatourhistoryistaughtandtheconflictbetweenfactandtruthswhichissometimesobscuredbetweenraceorgender.Thepoemgivesexamplesofpowerfulblackfiguresfromhistory,ofteninvolvedinconflictsthemselvesinonewayoranother.Noticeablythepoetemphasiseshowweoftencelebrateournationalorculturalhistory,withoutlookingatthehistoryandcultureofthosewewereinconflictwith.

Themes:RacialidentityandhistoryareimportanttothepoemandthepoetwritewithaphoneticstyletocapturetheirvoiceandcreatetoneemphasisinghisCaribbeanorigins.Conflictoccurswhenweseethecontrastwithwhatwearetaughtandwhatwearenot,thenatureofthecharactersandhistoryinvolvedbeing‘conflict’andtheconflictofthevictor(whomweremember)andthosewedon’t.Thepoetisalsoatconflictwith‘dem’orwithfactandfictiontoemphasisetheconflictofhisownidentity.

Structure:Writteninirregularrhymesandwithshortmixedenjambmentinversestheworkcreatesthetoneofamanspeakingoutandangry/frustrated.ItalsohowevercapturestheaccentandrhythmoftheCaribbeanethnicityofthepoetandthepartsoftheworkinitalicarealmostsonglikewitharhythmthatseemstosuggeststoriespasseddowninsongortoabeat.Thisisdonetoemphasisethatnotjustthehistory,butthewayitispassedonisverymuchapartofthepoetsidentityanddrawsonhisownCaribbeanbackground,atconflictwiththerepetitivenamesanddateshewasapparentlybeingtaughtatEnglishschools.

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DemtellmeDemtellmeWha demwanttotellme

BandageupmeeyewithmeownhistoryBlindmetomeownidentityDemtellmebout1066andalldatDemtellmeboutDickWhittingtonandhecatButToussaintL’OuvertureNodem nevertellmeboutdat

ToussaintAslaveWithvisionLickbackNapoleonBattalionAndfirstBlackRepublicbornToussaint dethornTodeFrenchToussaint debeaconOfdeHaitianRevolution

Demtellmeboutdemanwhodiscover deballoonAnddecowwhojumpoverdemoonDemtellmeboutdedishranawaywithdespoonButdem nevertellmeboutNannydeMaroon

NannySee-farwoman

OfmountaindreamFire-womanstruggleHopefulstreamTofreedomriver

DemtellmeboutLordNelsonandWaterlooButdem nevertellmeboutShaka degreatZuluDemtellmeboutColumbus and1492ButwhathappentodeCaribsanddeArawaks too

DemtellmeboutFlorenceNightingaleandshelampAndhowRobinHoodusedtocampDemtellmeboutoleKingColewasamerryolesoulButdem nevertellmeboutMarySeacole

FromJamaicaShetravelfarTotheCrimeanWarShevolunteertogoAndevenwhendeBritishsaidnoShestillbravetheRussiansnowAhealingstarAmongthewoundedAyellowsunriseTothedying

DemtellmeDemtellmewha demwanttotellmeButnowIcheckingoutmeownhistoryIcarvingoutmeidentity 26

Kamikaze

Context:Thepoemissetaroundtheeventsofakamikazepilotflyingtowarandthenturningbackbeforeitwastoolate.Kamikazepilotswereexpectedtouseupalltheirweaponsandthensuicidebyflyingintotheirtargetsasafinalactofdestruction.ItwasconsideredagreathonourinJapantodieforyourcountry.Thepilotinthispoemreturnshomeandisrejectedbyhisfamilyforeverafter,hisownwiferefusingtospeaktohim.Thepoemiswrittenbothfromanarratorandthedaughterofthepilot.Thenarratorexplainstheevents,almosttranslatingthestory,whilethespeakergivesafirstpersonaccountofhowtheyexcludedherfather.Thepoetquestionsattheendwhichdeathwouldhavebeenbetter,todieasakamikazepilotyoungortogrowoldwithafamilywhoshutyouout.

Themes:Thepoemissetinatimeandtopicofconflict,howevertherealconflictisbetweentherulesofasociety‘honour’inJapaneseculture,andthewilltosurviveandreturntoafamily.Theconflictisparticularlyprofoundbecausethereappearstobenorightanswerandthepilotdies,onewayoranother,intheeyesofhisfamily,ifnotinbody,thepoemexploresthefutilityoftryingtoavoidyourownfate/destiny.

Structure– Thepoemchangestoitalic/fontduringthepenultimatestanzasandapreviouslinetoindicatethechangeofspeaker,fromthenarrator/translatortothedaughteritappearsasifthedaughterispassingonthestorytoherownchildrenandthenarratorisexplainingthisprocess.Thefinalcouplethitshomethethemesofthepoemquitedramaticallyinaverysombretonebutdoesnotofferanopinion,challengingthereadertocometotheirowndecision.Theconsistentstructureusesquiteregularsyllablepatternsdriftingupanddowninlength,thisgivesthepoematoneofnostalgia,butalsotherhythmofthewaveswhichcanrepresentahelplessness,thatthingswillhappen,whateveryoudo,hewillstill‘die’inonewayoranother.Theuseofasidesandcalmrurallanguagejuxtaposesthesettingofwar,givingthepoemamuchmorepersonalscopeonamajorevent.

27

Kamikaze

Her fatherembarkedatsunrisewithaflaskofwater,asamuraiswordinthecockpit,ashavenheadfullofpowerfulincantationsandenoughfuelforaone-way

journeyintohistorybuthalfwaythere,shethought,recountingitlatertoherchildren,hemusthavelookedfardownatthelittle fishingboats

strungoutlikebuntingonagreen-bluetranslucentseaandbeneaththem,arcinginswatheslikeahugeflagwavedfirstonewaythentheotherinafigureofeight,

thedarkshoalsoffishesflashingsilverastheirbelliesswivelled towardsthesunandrememberedhowheandhisbrotherswaitingontheshorebuiltcairnsofpearl-greypebbles

toseewhosewithstoodlongesttheturbulentinrushofbreakersbringingtheir father’sboatsafe- yes,grandfather’sboat– safetotheshore,salt-sodden,awash

withcloud-markedmackerel,blackcrabs,featheryprawns,theloosesilverofwhitebaitandonceatuna,thedarkprince,muscular,dangerous.Andthoughhecameback

mymotherneverspokeagaininhispresence,nordidshemeethiseyesandtheneighbours too,theytreatedhimasthoughhenolongerexisted,onlywechildrenstillchatteredandlaughed

till graduallywetoolearnedtobesilent,toliveasthoughhehadneverreturned,thatthis41wasnolongerthefatherweloved.Andsometimes,shesaid,hemusthavewonderedwhichhadbeenthebetterwaytodie.

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