• to create a flowing, rhythmic sound

• Compared to a heartbeat

• Makes lines smooth and easy to read aloud

Near where the chartered Thames does flow'

• Wander - suggests he is

  • free in that moment

  • Present tense - immediacy

  • Familiar with his surrounds and universality of the sights and sounds around him.

  • Juxtaposes adjective 'chartered' repeated twice

  • 2 meanings - a) means 'mapped out' or b) a licence to trade.

  • Mapped - So each street is mapped out in contrast to this rigid mapping out of places he is free to wander around

  • Confined -Not only the streets he walks down bound to the 'profit motive' but the natural flow of the river is confined by the same motive

  • Shipping - Thames major shipping, bringing goods, raw materials particularly coal from Pool of London in the east and was bounded by wharves and warehouses on both banks

• 2nd Juxtaposition

  • Verb - the Thames does 'flow' - associated with freedom and nature

  • But even the Thames is chartered

  • Symbol of repression of freedom

• Control - Whole of London is so controlled that even something that is natural has been bound in.

• Form - regular iambic tetrameter, abab rhyme

And mark in every face I meet

Marks of weakness, marks of woe

• Faces of people he passes bear the signs of frality and sorrow

• Form -

  • changes iambic rhythm to emphasise word 'Marks' - changes the emphasis from rising to falling ie starts with stressed and unstressed - 'Marks of/weakness/marks of/woe

  • ^/

  • Above - 3 full feet of trochees plus one incomplete foot - which is called a 'catalexis'

IN every Infant's cry of fear,

In every voice in every ban,

The mind-forg'd manacles I hear

Anaphora - 1st word of each line is repeated

• Vastness of suffering which is repetitive

• Continues the idea of ubiquity - no one in the city is free from the suffering

• Every man could also be read as 'Everyman' - her of a morality play that follows the journey of an ordinary man through his life.

Noun - cry not a verb

• Emphases suffering

• Juxtaposition - man and infant - age and experience, youth and innocence, it doesn't matter who, the crying, the suffering, the pain is there

• Even the most innocent are vulnerable here

Every ban

• References to notices read out in church before marriage

• Reading the 'bans' would reflect Blake's own views on the institution of marriage

• Foreshadows the last line of the poem

• Bound to a life which imprisons them in both body and soul.

Mind-forg'd manacles

• Metaphor - manacles are shackles - connotation of being controlled/imprisonment

• That's what he hears in all of the voices

• Alliteration

• Nasal - m,n,m sound - effect menacing, sinister and harsh

• Metaphor for suppression of the imagination and spirit of people trapped in the corrupt society and its conventions

Forg'd - means made

• So if made in the minds of the people, suggests those people have control

• Context - how influenced by the French Revolution

• Call to arms - you allow your self to be shackled, you allow yourself to have these manacles, so shake them off.

Every black'ning Church appalls

And the hapless Soldier's sigh

Runs in blood down Palace walls

Moves from general 'Every man' to specific

• Cry of chimney sweep - repetition - reminding suffering

• Black'ning Church

  • 'ing' associated with it being onging

  • Churches associated with light

  • Contrast

    Synedoche - something small represents the whole

  • Individual church is synedoche for religion

  • Appalls - contextual. All the chinmey sweepers where orphans

  • Small boys suffered horribly, shoved up chimneys and died of awful lung diseases, innocent

  • Church looked after them - corruption of the church

  • Soot is on the church's hands as they should have been looking after the children

  • Blames church - attitude is blackening society. They should be protesting and fighting for these boys. Instead like the buildings of London, their inaction is blighting society just as the buildings are being blackened physically.

• Hapless solider

  • No choice whether to fight or not

  • His 'sigh' cry of helplessness + his dying breath

  • Example how he moves from literal (a sighing soldier) to visionary - the sign becomes an image of blood on the walls.

  • Ironic comment on a society which allows this to happy - Church, Crown and State are complicit in pain of the oppressed.

• Fires in London - fuelled by coal leaving dense black soot requiring regular sweeping to avoid chimney fires

How the youthful Harlot's curse

Blasts the new-born Infant's tear

And blights with plagues the Marriage hearse

Last - worst bit

Youthful Harlot's

• Hears the cries of young prostitutes of whom there were thousands in London.

• In those times, was also applied to unmarried women living with men, or unmarried mothers

• Fact youthful - deeply upsetting what is happening to these young girls

• Youthful connotes innocence, Harlots connotes sin. Youth have been corrupted

• Criticism what is happening

• Curse -

  • some read as the Harlots are cursing - loud and horrible for the children

  • But curse is also a metaphor for disease

  • STI - veneral diseases

Blasting new-born Infant's tears

• verb - connotes violence and harshness

• Prostitutes are passing on their STI's to babies

Alternative view - unmarried mothers also called harlots

• Insinct to sooth their child when it cries is transformed into a curse

• Regret having the child.

Blights with plagues the Marriage hearse

• Blights connotes disease

• Noun - plagues - death - STIs - gonorrhoea or deadly syphilis.

• Marriage - oxymoron

• Hearse - dead bodies carried in , marriage should be associated with new life. Fact attached to death, not only babies infected with STI but men having sex with prostitutes are then going home and blighting their marriages with disease leading to their death or infertility.

• Alternative - vision for these unfortunate 'harlots' Instead of a carriage for 'respectable marrieds' they will travel in a 'hearse'

• Marriages at the time were often arranged or subject to strict societal conventions which may not reflect the desires of the couple

Summary

• Harshest criticism for institution of marriage

• Bleak apocalyptic view of society blights the lives of citizens with London being its source and symbol.

• Blake believed in God or a supreme being, but was deeply critical of the Church as an organisation seeing it as an instrument for the suppression of individual liberty and freedom of thought.

• Marriage - saw as shackling of man's nature and instincts, particularly in relation to Chastity and marriage

• specific moment in Wordsworth's life where he was stood on the bridge with his sister Dorothy and was about to go off to France. He went on a coach trip through London on his way to Dover.

• He lived most of his life in the countryside of the Lake District so visit to London was uncommon.

• Early in morning - taken with how beautiful the city looks at this time

• Looks out over the buildings and past the buildings into nature - how calm and peaceful

Context

• Alive 1770 to 1850

• Industrial revolution

• Written 1802

• Incredibly famous romantic poet - took it upon themselves through poetry to understand the world around them.

• Would have been anti industry, anti industrial revolution, inspired by nature - wonder and awe

• Sister Dorothy

• Strong relationship with France.

• Interested in French revolution but not as aligned as William Blake

• Spent a lot of his life in France

• Fathered a child - reason for going back to France to see his daughter for the first time in along time - she was now 9 years old.

• Had to leave France because of the tensions between England and France

Theme

• Just as Keats praises Autumn, Wordsworth praises London.

• Joy in a moment of time and spirit of the place.

  • Similar to Adelstrop and

  • Home Thoughts from Abroad and

  • arguably in Davidsons 'In Romney Marsh - although less emotional intensity.

Contrast

• William Blake's London - saw it very differently

• At end of 18th Century, London was beginning to experience the effects of the industrial revolution

  • Rapidly rising populations

  • Increasing poverty

  • Inadequate housing and sanitation

  • Contrast to 'smokeless air, Blake's London is one that needs chimney sweeps to clean the chimneys, belch coal smoke into the sooty air, 'black'ning buildings'

Chose Petrachan sonnet to write about love in relation to a city - chose to write about anti-industry and pro- nature.

Time morning - factories not open, not chugging out smoke so able to see in its beauty.

• Starts with proposition - nothing more beautiful on earth than the sight of London in the morning viewed from Westminster bridge

• Personified earth as a woman wearing the dawn as a 'garment'

• Proud to show what it has to offer

• Comparative adjective - 'more fair' emphasises beauty of the city in this moment

• Statement is hyperbolic - rather than 'anything' but separating 'any thing' - almost unique in this moment

• Strong opening - the best thing ever.

The beauty of the morning; silent, bare.

'City' - capitalised - powerful

• City wearing beauty like our clothes

• Temporality

  • Simile 'like a garment' - also suggests temporality as if you wear clothes you will take them off.

  • Take your clothes off - hints at London's concealment of its true image

  • Suggestion of temporality - City now ...suggestion is that later it won't be so beautiful

• Early in the morning - This is why Wordsworth is able to write something about a city which is symbol of industry - something he didn't like is because it is so early in the morning that all of those dreadful things about industry aren't in front of him eg smoke

• Enjambment - between 'wear' and 'The beauty'

  • meaning - is the continuation of a phrase or sentence from one line to the next without any punctuation

  • Effect - a thought continues seamlessly across lines, creating a sense of flow and continuity.

  • Puts the emphasis on 'the beauty'

• A person who is not touched by the sight must be 'dull...of soul'

• Juxtaposes 'fair' in the previous line

Open unto the fields, and to the sky;'

• Asyndetic (lists using commas to separate elements of the list) rather than Syndetic - using conjunctions such as and

• Semantic field of industry

• Juxtaposes with images of nature - fields and sky'

• Line structure - enjambement - 'lie' running into 'open' suggests industry and nature are united - they compliment each other in this moment

• Images and what would have seen

  • Was written before Houses of Parliament and Big Ben dominating view now

  • Some landmarks would have been recognisable - Middle Temple and dome of St Paul's cathedral

  • Theatres - Vauxhall and Astley's are now demolished

  • 'Ships' would have filled the Thames as London was a major port

  • View lies 'open to the fields' as Westminster was still semi-rural in early 19th Century.

• As it is early morning - no smoke.

• Ironic - purity and no pollution

• Contrasts the city to the natural world.

• When the coal burning factories and domestic fires start up, the air will be become thick with soot resembling William Blake's London.

Never did sun more beautifully steep

in the first spendlour, valley, rock or hill'

• Volta - begins to compare his view of London with Lake District

• Surprised that urban cityscape can compare favourably with countryside with which he is familiar

• Never - did rising sun cover the landscape of the Lake District more beautifully and that peacefulness of the city soothes his soul as effectively (a calm so deep)

  • Hyperbaton - Changes the traditional order of the sentence. It's a way to create emphasis, a unique rhythm, or a specific tone. By disrupting the normal flow of syntax, writers can highlight certain parts of a sentence or make it more memorable. 

  • Starting word never rather than 'the sun never did...' - demonstrate how unusual this is.

  • Triad - 'valley, rock or hill' - about nature in the Lake District

  • The 'first splendour' - talking about God - extraordinary hyperbole -Son of God has never looked down so beautifully at anything in the city - even valley, rock or hill aspects of nature.

  • Opens up the sestet - is a Voltare - shift from description of the industry to the way God and nature responds to it

  • He sees the Thames flowing freely through the middle of the city. The Thames was much wider and stretched further inland to the Strand before Victoria Embankment was built in mid 1800s.

Contrast - Blake - 'charter'd Thames' - river bound by warehousing and commercial activity.

• Contrasts to William Blake where the river is 'Chartered'

• Highlights the sense of desperation

  
  

And all that mighty heart is still lying still

• Exclamative - intense emotion

• Personification - tranquility and peace reminding us beauty is temporary as so early in the morning. Listening for her 'heart' and finding it has slowed to stillness.

• Metaphor - all that might hearty is lying still - people of London. Exclamative - emotion. Life blood of London is calm and still because everyone is asleep and London hasn't woken up.

• The sight is transcendent - lifting him to a higher plane of awaremeness and linking him to the natural world.

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

• Ode - direct address to autumn

• Form

  • Rest poem Iambic pentametre

  • Here spondees - irregularity - season and close - placing emphasis - moment address

• Alliteration - nasal - mists and mellow

• Mood

  • Mistry created - low mist in the morning

  • Mellow - tranquility with mellow fruitfulness

• Personification -

  • autumn by being addressed directly

  • Sun

    • autumn close bosom friend

      • ie closer to the earth and lower in the sky later on in year

      • suggesting a sense of intimacy.

    • of maturing sun

      • less powerful

    • Also - 'conspiring' with him. Get together and plan how to load and bless.

• Metaphor

  • suggests abundance.

  • Autumn and sun work together to bless and load all of the trees and plants to bear fruit as land bears vegetable.

  • Blessing - valuable and spiritual

  • Rest stanza describes the products and their ripeness and abundance.

• S and M sounds

  • Hypnotic trance like tone

• Semantic field of fullness and bounty

  • Load

  • Bend

  • Ripeness

  • Swell

  • Plump

  • Budding

  • O'erbrimmin'd

• Budding more, And still more - spills across lines 8 and 9 like flowers

• Mmmm - repeated sound

  • Summer

  • O'erbrimm'd

  • clammy

    • onomatopoeic like murmuring of pees

  • Sensuous image contrasting cool an damp of inside of bee's hives - 'clammy cells'

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind;

• Direct address - different part of the season

• Harvesting - Series of images of a harvest scene at a time when harvesting would have been done largely by hand before the industrial revolution replaced men with machines which accelerated during Keats' lifetime

• Who hath not seen thee

  • rhetorical question to the reader

  • Suggests everyone has seen autumn

• oft

  • often adverb - abundance natures always there

• Store

  • Produce kept

• Sitting careless on granary floor

  • Development personification

  • Woman

  • Idea - carefree, peaceful tranquil

• Hair soft-lifted

  • Autumn personified

  • Imagery nurture and mothering

  • Romantic imagery - hair blowing in breeze

  • Female version of autumn reclines and rests

• Winnowing wind

  • to winnow is to separate grain from ears of corn (chaff) by throwing up into the wind

Steady they laden head across a brook;

Like a gleaner

• Simile - gather of goods

• Vision of her as a woman who goes behind the men who cut the corn to collect hte grain that has fallen to the ground

Steady laden head

• Fills her bags and carrying them back on her head to bring them back to the barn

• Laden - full abundance in nature

• Burden

• Skilled in its collection and dividing out its products

Collecting at the harvester

• Images of sleep

• Poppies produce opium in some species - powerful narcotic

Or on a half-reap'd furrow sound asleep

• Only managed to reap part of the field

Twined flowers

• remainder of corn and flowers are tangled together

While thy hook

• spared from the scythe

• Elongated vowel

• Repetition of hours - Keats wants time to slow down.

• Presents consistent forward movement of time.

Think not of them, thou hast thy music too,

• Final stage - rhetorical question

  • Jealousy over spring

  • Bird songs are loudest in spring when establishing nesting territories and seeking mates

• Hypophora - question is answered. Urges Autumn to forget them

• Personification - you have music too, still beautiful

  
  

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

• Autumn has her own music which is soft and in tune with the 'mellow' weather and softer light of the waning year

• Reflective but beautiful

• Barred clouds - bring a change in weather

• Colour symbolism - rosy, beginnings sunset

• Idea of transition, twilight ending is when we hear the music.

• Metaphor Imagery with death

  • soft dying day - end of day, dimming lights

  • Wailful choir small gnats

  • uses enjambment of lines 28 to 29 to replicate gnats movement

    • Ends with 'aloft'

    • Starts with 'and sinking'

  • And full-grown lambs loud bleat from hilly bourn

  • And gathering swallows twitter in the skies

    • Images to do with ending

    • Lambs full grown - coming end part that life

    • Swallows twittering (onomatopeia) - about to leave - ready to migrate

  • Brother and other members of his family are dying of TB and only 2 more years before he dies

  • Celebration of cycle of life. Season of autumn - wider metaphor for life itself. Final stages

  • Nature is form of solace.

  • Life developing growing and ending through season of autumn.

Theme

• Freezes a moment in Time and Place

• Compared with On Westminster Bridge - looking at London in the early morning light - details urban landscape 'ships, towers domes', Thomas records rural features 'willow, willowherb and grass'

• Intense emotional response triggered by unique moment in time in a unique place

• Brownings Home Thoughts - also conveys this moment of unexpected joy where he is caught 'unaware'

• Both poems are revelatory

• Beauty of the scene before them and their response - sudden and unexpected.

• Sense of wonder world around them.

Context - WWI

• Born 1978 died 1917 in battle Arras- young

• Autobiographical - moment indeed stopped - 24 June 1914

• 6 weeks before outbreak of WWI

• War poet - Georgian poet - George V

• Isn't about war, but Thomas didn't want to enlist

• At the time of writing this poem, war hasn't broken out, everyone is mentally preparing

• Used his poetry as a way of preparing him deal with his anxiety about the state of the world and war. Encouraged by his friend Robert Frost - American poet

• Dies in battle - 1917 before this poem is published.

• Wrote 1 novel, biographies and critical work.

Influenced Romantic poets/war poets

• Characterised producing lyric poetry (moment/emotion)

• Themes of nature and the countryside

• Begin in media res - feels like someone has asked him a question - this is his answer

• Intensity use word Yes- suggesting Adlestrop name, place or memory

• Caesura - sense intensity by a pause

• Declarative sentence almost qualifies what sentence is about.

Of heat the express-train drew up there

Unwontedly. It was late June

• Caesura reinforces moment of stopping

• One - adverb of time in particular

• enjambment puts focus on 'of heat'

  • Quite oppressive in this moment- symbolic pressure and fear feeling around.

• Adverb 'unwontedly' - unusually - surprise - moment of time that was gifted to him as they weren't meant to be there.

• Ceasura - Unwontedly. It was - important date - 6 weeks before WWI

No one left and no one came.

On the bare platform.

• Pause time

• Sibilance (hissing or whispering sound)

  • creating vivid image allowing us to imagine silence being broken by subtle silence

  • Distinct and separate each sound is

• Caesura - someone cleared his throat - sensory images from declarative sentences. Stressing the silence in this moment and sense of peace.

• Focus on isolation

  • repetition of 'no-one'

  • Emphasises stillness and emptiness

  • Juxtaposition of coming and goings of people

  • Platform is bare - adjective - isolation and solitude but not a bad solitude.

  • World is unspoiled by man

• Train station and a place of industry.

  • Influenced romantic poets previous century - against industrial revolution.

  • Train station - symbol of modernity but fact empty gives opportunity to take stock and appreciate world around him.

Was Adlestrop - only the name

And willows, willow-herb, and grass

And meadowswee, and haycocks dry,

• Tells what he saw

• Only the name - referencing the sign stayed in his mind.

• Enjambment only the name And Willows

  • beautiful places all of these aspects of nature built into a semantic field - wild flowers, grass.

  • Carrying him from station to the countryside

• Polysyndetic listing - commas and- nature being every present and vast and varied and beautiful.

  • Appreciating majestic beauty in nature

  • Making each feature of countryside distinct and special

• Compare with Wordsworth's asyndetic listing view from the bridge

  
  

• Plants

  • Willows trees probably growing around the station

  • Willow herb tall pink flower often found growing on cleared or burned ground along railway sidings

  • Sibilance - grass/meadowsweet/haycocks - meadowsweet creamy white flower grows among long meadow grass

  • Stillness and white flowers are likened to high, small 'cloudlets floating above him

• Alliteration 'l' - Still/lonely/cloudlets' - slow the lines.

Close by, and round him, mistier,

Farther and farther, all the birds

Of Oxfordshire and Gloucestershire

• Adverbial -

  • 'for that minute' draws attention to how quick/speedy that moment was, impact profound

  • Moment of joy - hears blackbird sing

  • Temporal reference will fade

• Mistier - comparative adjective - suggests certain level of things being obscured or unclear.

• All birds moving from small moment to something more profound - sky is filling

• Emphasised through repetition 'farther and farther'

  • Hyperbole - how it feels = nature united in beautiful and glorious moment he has been gifted

  • Out into the neighbouring counties

  • By inference across rural England, which will be changed by War.

• So powerful - 6 weeks before WWI. Know anxious about enlisted. Finding moments of peace to cope with world around.

Themes

• Place creating identity

• Hurricane as a way of linker her two cultures - Guanese and British to find a way to reconcile herself to the exile from her homeland.

• Compare to Alvi's Presents also considers identity and cultural heritage

To the landscape

...

The howling ship of the wind,

Its gathering rage,

Like some dark ancestral spectre.

Fearful and reassuring.

• 3rd person pronoun 'her' talking about herself - demonstrating a sense of distance.

• Connection

  • Ability to feel connected with landscape with England

  • Enjambment - Her. to the landscape

  • It took a hurricane - suggests struggle to connect to the landscape - The woman's estrangement from her adopted country

• The Howling - animalistic, zoomorphic onomatopoeia - metaphor

• Gathering rage - personification - human emotion. Describing sounds hearing. Lying in bed listening to storm,

• Ancestral spectre - imagines it being like some dark ancestral spectre - simile

  • anchestral meaing familiar or from the family, and

  • spectre means a ghost - Like some sort of ghost of her home.

• Fearful and reassuring -

  • Oxymoron juxtaposition - reminding us of danger and power of the storm. As she has come from Ghana , will have something she will have experienced and so gives her comfort.

  • Conflict between power and fear and damage storm but also makes her feel connected to home

    
    

Talk to me Oya

Talk to me Shango

• Personification - shift from 3rd person to 1st person -becomes more personal and intimate - shift in persepctive - addressing the storm related to the Gods. Giving the storms a voice

• Anaphoric structure - repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect - 'talk to me, talk to me...talk to me...'

  • Creates chant like/prayer like tone. Sense of desperation

• Gods - Hurican - Caribbean representing her home. God of Hurricanes, Oya - God of wind, Shango - God of thunder and lightning. Tribal chant/prayer to these Gods of storms

• Need to connect with her roots her home, heritage because she feels disconnected from where she is - the UK. Pleads with the spirits to 'Talk' to her, bring her a message from home.

And Hattie - hurricane Hattie in Guana in 1961 when she was a child hence 'back-home counsin'.

An English coast

What is the meaning

Of old tongues

Reaping havoc

In new places?

Woman rhetorically asks the wind spirits why they have come all the way to England where they do not usually travel to cause such destruction

What are they trying to tell her.

Even as you short-

Circuit us

Into further darkness?

Literal - Lightning striking and electricity going out

Metaphor - 'blinding illumination' - can also be for knowledge which she is seeking understanding.

Metaphor - into further darkness - in darkness before.

• Literal yes - power cut.

• Lack of knowledge, but then confused even further.

• Where do I fit.

Juxtaposition - illumination and darkness

Enjambment - Way set out with enjambment.

• Compound noun - short-circuit is cut in half.

• Deliberate like lights going out suddenly - line cut in half.

Shape - stanza shape - lines staggered represent motion lightning.

Falling heavy as whales

Their crusted rots

Their crated graves

• Similie - testament to the overwhelming force of wind

• Continues sea imagery 'heavy as whales

• Roots are 'crusted'

• Stanza in itself

• Rhetorical question

• Interjection - just as the Hurricane has disrupted normal weather patterns so it has disrupted her emotions.

• Metaphor that suggests freedom - she feels set free from the old patterns of feeling 'heart unchained' by throwing herself into the spirit of the storm allowing it to take her where it will.

• Point in the poem - turning point suddenly realising is free and is ok and is perturbing in a world I wasn't comfortable before

Tropical Oya of the Weather

I am aligning myself to you

I am following the movement of your winds

I am riding the mystery of your storm

• Oya - direct address.

• I am - anaphora

• Present continuous tense in all verbs 'am aligning, am following, am riding' - very immediate in the moment - metaphors in sync with storm

• Riding - journey mentioned - storm is journeying from place to place and she is with it. Connection between her and the storm

Come to break the frozen lake in me

Shaking the foundations of the very trees within me

Come to let me know

That the earth is the earth is the earth.

• Sweet mystery - mystery of the storm has helped her understand herself better. Imagines herself like the landscape to be changed by the storm.

• Comes to break - intense - has deliberately come to me to help me.

Metaphor - imagining inside herself there was a frozen lake

• reflections and depth. Inside her it was icy and cold feelings buried and couldn't connect to the culture.

• Storm broken frozen lake

Shaking the foundations of the very trees within me - repetition of the earlier imagery - trees crashing down in the wind and showing their roots. Idea - all those thoughts locked away have been shaken free

Earth is the earth is the earth - doesn't matter if in UK or Caribbean - earth is a a single place even thought divided into different continents and countries, officially separate. All connected and doesn't have to feel disconnected - all part of the same thing = the world helping to overcome her feelings of alienation.

Context

• Born 1971

• British poet and crime novelist

• 1990s travel - shift change

  • Very expensive - people going to different places in the world had more money

  • 90s travel easier - budget holidays still have today more popular. Travel more readily available for everyone

  • Gap year - travel - going away to far flung places that are deserted and having an authentic experience. Finding yourself - very pretentious

    
    

• Themes

  Class divide - hear tone narrator

• Not place as such but social commentary

• Target - eco--tourists who scorn mass market tourism whilst contributing to environmental and social impact of global travel.

Comparision

Blake's London - attitudes to social commentary

Fanathorpe's 'First flight - contrasting views to travel.

• Look down those who go on a package holiday.

• declarative blunt tone

• Negation - I do wish - subverts form of the postcard - 'wish you were here' - typical opening line.

• Sets point of poem - narrator believes isolated the key to a successful holiday. Having people around him is unpleasant.

with karaoke nights and pints of beer \for drunken tourist types - perish the thought

• This place - doesn't reveal

  • negation - does not want to see it become a 'resort' - place created for mass tourism with entertainment

  • Resorts enable tourist to travel to other countries while enjoying familiar food and culture

  • Isolates them from local people and customs

    
    

• Enjambment - spills across 3 lines creates ranting faced paced tone

• Plosive Alliteration - tourtist types

• Plosive sounds - K - karaoke, p - int, b -eer, d - drunken ttt- tourist types,

  • Forceful sounds as thought spitting out sounds

  • Caesura - hyphen - narrator - ugh.

• Imperative sentence - perish the thought

  • old fashioned language - tells us about the class of the narrator

  • Wants to destroy this thought

  • Wants separate themselves from traditional stereotype of Brits abroad and singing Karaoke

• Iambic pentameter - regular solid quatrains

• Present - immediacy

• 1st person.

• Alternating rhyming couplets

• Colloquial language

• Tone - ridicule, mockery

• Repetition word - 'not' - pessimistic and cynical.

not like your seaside-town-consumer-hell.

• Tonal shift - peaceful place - alliteration

• Vague don't know where

• Ironic statement - untouched by man - except your there - gap year behaviour.

• Juxtapose their perception of a package holiday

  • hyperbolic negative images of other places spolied by mass tourism

  • Not - hyphens - compound noun as if this is one thing

  • Consumer - go and consume spend and take things in. Ironic - how did he get to the place he was in.

  • Emotive - like 'hell'

• Faltering eloquence" describes a state where someone's ability to speak or write with fluency, grace, and persuasiveness is weakened or disrupted. - here unable to speak due to anger.

Sleeping in a local farmer's van

• Her commitment to an alternative travel experience - which is humerous exaggeration of where eco-tourists choose to stay - yurts or communal dormitories

Its great

• enjambment on the following line seems desperate as if anticipating a negative response.

There's not a guest house or hotel

• Exaggerating isolation, carried over to the next stanza - within a hundred miles to emphasise isolation.

English (apart from me, and rest assured,

I'm not your sun-and-sangria-two-weeks-small-minded-package-philistine-abroad).

• within a hundred miles - cliche

• Nobody -

  • know all - all opinions are stated as facts (declaratives).

  • At the end of the line suggests loneliness rather than chosen solitude

  • English on the next line - emphasis

• Rest assured - Who are they are assuring - like minded person at home or themselves

• Long compound noun - so much longer even more of a rant

  • Sibilance - sun and sangria - creates a sense of pace - spitting dislike

  • savagely characterising those tourists as less authentic than them.

Irony - narrator suggesting people go on package holidays are small minded philistine - his view of the world is so narrow minded because he is so judgemental.

He - assumption - narrator man - constructed character.

your friends become wine connoisseurs, not drunks.

I'm not a British tourist in the sea;

I am an anthropologist in trunks.

• Air of self satisfaction - Positions himself someone to aspire to

• Multi-cultural - knows about lots of different cultures

• Undermines his own statement - 'become' suggests change

• Euphemism for drunk - drink a lot of wine - wine connoisseur which is respectable, drunk is not.

• Declarative statements

• Not - tourist in the sea

• Subverts convention would expect postcard of people in the sea

• Low frequency lexis - Low-frequency lexis refers to words or vocabulary items that are used less frequently in everyday language - anthropologist not used very often - study different societies and humans and way interact

• Poking fun - irony -

  • he considering himself as a great studier of mankind whilst revealing himself to oblivious to himself and way he lives - peom about judgement.

  • Intellectual snobbery

  • Class snobbery

  • Travel available for people on low incomes

Themes

• Although the poem is a ballad telling a story, reads more as a lyrical poem evoking landscape

• Came up and going down - suggests passage of time when the light on marshland changes from daylight to sunset

• Compare to On Westminster Bridge or Adlestrop lyrical descriptions

• Fascinated by unique qualities of light and sound on marsh as a detached observer

• Little evidence of transcendent - which takes him out of himself into a new understanding of self in relation to his surroundings

• New technology

  • wire in the wind - new tech can be integrated into the landscape

  • Similar to 'masts' of ships

  • Express train - in Adlestrop - steam hiss

  • Wordsworth - 'ships, towers, domes, temples'

  • Fanthorpe's First Flight - aircraft takes her outside 'Familiar England to alien landscape

  • Blake - suggests London's inhabitants are alienated from the natural world and by the corrupting influence of commerce and industrialisation - charter'd Thames and 'mind forged manacles' that destroy natural feelings of compassion

  • Afrika - amiable weeds with 'incipient Port Jackson tress. Weeds grow naturally in abandoned District while tres are an alien import by Whites, suybolising ugly social and political divisions.

Context

• 1857 - 1909

• Poet, playwright, novelist

• Inspired Romanticism - anti-industrial revolution - connection to nature - appreciating beauty nature

• The Sublime - something managing to be beautiful and destructive simultaneously

• Having difficult time - physical and mental - crippling financial difficulties - led to suicide 1909

• 1920 publication, 1909 died

• South East of England

• Specific time and specific walk

Form

• lyric

• landscape poem - painting poetic picture scene

• rhythm - set ABAB

• 7 quatrain

• Iambic tetrameter - rhythm and movement

• Structure - as I went to down to Dimchurch wall and back

• Sounds hearing - waves - movement and volume waves - tide goes back and forth - form representative.

I heard the South sing o'er the land

I saw the yellow sunlight fall

On knolls where Norma churches stand

• Positioning everything about what happened

• As I went down - Frontal subordinate clause - collection of everything he sees beginning of the journey

• Personification - South sing - southerly wind

• Joyful sound of wind is - singing over the land - sibilance musical tone

• Yellow sunlight - sensory description and sight

• Anaphoric - I heard, I saw

• Rooted history - Norman churches - heritage site. Built by William Conqueror - Battle Hastings

Within the wind a core of sound

The wire from Romney town to Hythe

Along its airy journey wound

• whistling telephone wires strung across the marsh

• Assonance - 'ringing shrilly'

And trailed its fringe along the Straits

The upper air like sapphire glowed:

And roses filled Heaven's central gates.

• veil purple - associated royalty

• Colour symbolism - status and value

• Alliteration - veil vapour

• Personification - vapour flowing - trails its fringe - like a person like a piece of clothing behind of the mist

• Simile - like sapphire - jewel - glowing dark bright blue

• Roses filled - assuming pink red - timing - blue pink hue in sky. Metaphor - sky

• Semantic field - sapphire, saffron - valuable expensive substance, diamonds and silver - high value beauty of sea. Majesty

The swinging waves pealed on the store;

The saffron beach, all diamond drops

And beads of surge, prolonged the roar

• Mast are moving to and fro - wagging in the wind

• Sound of waves breaking on the shore likened to regular rhythm peal of bells

• Colour imagery continues with adjective 'saffron' deep yellow

• Gems - diamonds/beads

• Sparkling spray

I saw above the Downs' low crest

The crimson brands of sunset fall,

Flicker and fade from out the West

• 1st and 4th stanza are inversion of each other - on way there and on way back. As I came up - time has passed

• Subordinate clause, rest of clause

• South Downs

• Colour symbolism - rich red crimson - sunset falling down

• Metaphor - 'brands' - burn into it. Colour richness of red - sky branded with red colour

• Flicker and fade - alliteration almost onapatomaic

  
  

The stars in one great shower came down

Srhill blew the wind; and shrill the wire

Rang out from Hythe to Romney town

• Metaphor - night doesn't sink - dark

• Simile - like flakes of silver - oxymoron - white sparkly grey - fire - red heat.

• Stars - enjambement - emphasis on stars

• Hyperbole - great shower

• Suggesting stars fall down so quickly blue pink to red and then darkness

Streamed as the waves clashed on the shore;

The beach, with all its organ stops

Pealing again, prolonged the roar.

• Sibilance - salt sea

• Onomatopoeia - clashed

• Pealing again - sensory language - bells appealing sense of sound

• Organ - church but describing waves on the beach

• Prolonged roar - onomatopoeia - power and volume.

• Romantic convention - sublime how powerful nature is while simultaneously being beautiful

  • Clash - violence

  • Roar - power

  • Movement organ - pedalling - describing waves on shore as organ - pedalling keeping sound going.

Context

• Alive 1830 - 1886

• 1862

• American - Massachusetts

• Well educated, Father lawyer, attended school until 17

• None of 1800 poems were published when she was alive. 1955 definitive collection became available

• Reclusive life - know poem isn't about her. Could be about her own feelings. But did not take her dog to beach.

• Agoraphobic

• Ill health epilepsy - jolts and starts in body referred to in her body

• Give reason for reclusive nature - demonised and forbidden having relationships as was the devils curse

• Unmarried - context about sexual awakening

• 2 love interests - Susan Gilbert - wonderful love

• Older gentleman - proposed to her and she turned him down.

• 19 century America - very unusual life.

Themes

• Dreamlike account walk by the sea

• Realisation power and size of the Sea

• Nature - comparing herself to a mouse on the shore, or a dew drop on a leaf

• Compare

  • with Fanthorpe's first flight

  • London - Blake and Wordswork

  • Nothing Changed- Afrika walk familiar place and his forensic sensuous description of the terrain contrasted with Dickinson use of fantastical imagery.

Stops and starts - handwriting

Capitalisation of noun and noun phrase

Ballad - very specific rhythem

ABAB and 6 quatrains

Shift - iambic tetrameter to iambic trimeter

• 1st and 3rd - iambic tetrameter - 8 syllables

• 2nd - iambic trimeter - 6 syllables

Hymn - wrote in ballad

• Fits rhythm Amazing Grace

• Extraordinary woman - use a hymn to write a poem about sexual awakening.

• Personified Tide as a God like Man

Sexual elements - work censored.

And visited the Sea -

The Mermaids in the Basement

Came out to look at me-

• Dog was a Newfoundland and her companion for 16 years

• Dream like fantasy - sea is a gigantic building

• Caitalisation - loosely follows the iambic metre - Early, the Sea and The Mermaids and the Basement

• Metaphors - mermaids in the basement came out to look at me - aren't mermaids and basement - bottom of sea. Imagining mermaids at bottom of sea = coming out.

• Mystery v familiarity

• Basement bottom part of a house

  • Emily Dickinson was a recluse - grounding images of familiarity

  • Something special awaiting us

• Suggestion of intention

  • Mermaids assess her - narrator isn't bothered

  
  

Extended Hempen Hands-

Presuming Me to be a Mouse-

Aground - upon the Sands-

• Moves basement to upper floor

• Like a swell of waves from trough to crest

• Frigate birds - large black and white seabird fly on the crest of a waves to try and catch her

• Hempen - made from hemp a fibrous plant from which ropes are made extending the nautical theme.

• Compares rough twisted rope to the bird's claws reaching for her

• Mouse - Because she looks so small alone on the Sands they think she is prey - a Mouse

Went past my simple Shoe-

And past my Apron - and my Belt

And past my Bodice - too -

• Just described the boats in the water extending the ropes calling to her

• No man moved me til tide went past her shoe

  • Metaphor and Euphemism - no man having moved her - no man affected her but also virginity - not been impacted upon

  • Approaching Tide - as moves up the beach could be personified as sexual advances

• Personification - sea - movement of sea - tide becomes a man - I haven't been moved but the tide is acting as a male lover and went past my simple shoe, past my Apron and bodice

• Semantic field of clothing

  • Actually represents the body

  • Shoe, apron, belt, bodice (to her breasts) - goes up her body

  • Clothing is capitalised - marking out relentless approach

  • Too - to show the shock of the advances.

• Emphasises the anaphora - and past my... Growing moving - sexual connotations - physicality of her body. Taking her over

And then as He would eat me up -

as wholly as Dew

metaphoric - notion consuming is sexual. It is as if he is going to fully consume me. Lecherous man. Wholly - possession

• Fear

  • Some people wonder if this about fear.

  • Imagined sexual act is non-consensual -

    • eat me up - villainous tone as she is not the part of it. Him starting and her following is as if she is trying to run away.

    • Threatening - exploring notion of sexual fear - narrator frightened of sex to explore issues she has.

• Sexual enjoyment Other people - last line -

  • Does not seem frightened by this possibility - comparing herself to Dew drop on a Dandelion leaf (sleeve) which will easily lap up.

  • And He - he followed - followed close behind-

    • Starting - participation

    • Started metaphor for organism or enjoyment/feeling

    • Anaphora and enjambment - And he, And He - he too is also enjoying the sex - metaphor for male organsim - happening together he is close behind.

    • Sea personified and moving in and out.

Upon my Ankle - Then my Shoes

Would overflow with Pearl

Enjambment - Upon my Ankle

Sea - moment spilling over her shoes

Metaphor - overflowing pearl - male organsim

Sexual awakening - value - adjective Silver, noun Pearl - beautiful items - no sense of fear.

No One He seemed to know-

And bowing -with a Mighty look-

At me- The Sea withdrew-

• Familiarity - tide all way up top of beach

• Solid town - feeling reality

• Juxtapose with unfamiliarity - sea out of place in this familiar world.

  • This love cannot continue

• Bowing - personification - Mighty - profound powerful and meaningful

  • Tide back out.

• Metaphor

  • this type of love cannot last in real world.

    • Desire to have sexual awakening in the world of the narrator it doesn't work.

    • Reclusive individual with complex love life due to ill health and eplispsy. Not able to be in a relationship.

  • Summary

  • Excited about male relentless advances of male figure

  • Social contentions demand reject his advances

  • Seek safety of solid town - symbol conventional Victorian morality.

• Thomas Hardy - not biographical - back to a place where he and his wife used to picnic

• Looks at who is now

• Juxtaposition in poem - past - happiness and sadness

• Written after his wife has died.

Context

• 1840 died 1928

• Influence Romanticism

• Poem - 1912

• Incredibly famous novelist and poet

• Southwest England

• Short stories

• Emma Gifford - relationship struggled towards end.

  • Died suddenly 1912

  • dedicated to her - sense guilt

• Included a epigraph short phrase - traces to old fire

  • Fire - symbolic love and passion

• Referencing Yeats and Newbolt

• Industrial Rev

  • past it but would have been influenced

    • End poem - negative ideas to do with industry.

In the summer time...

I slowly climb

Through winter mire,

• Repetition - anaphora - title and first line

• Juxtaposition - first person plural to first person single

• Past tense in first section - made

• Present - I slowly climb

• Adverb - slowly - sense dreariness pace slowed

• Juxtaposition - seasons - summer now present winter

• summer together happy past sense of love, winter cold alone and in the present

And scan and trace

The foresaken place

Quite readily

• Rhyming couplet

• Creates pace speeds things up

• Verbs - scan and trace - searching things up. Eyes darting around the place, looking for traces of the past

• Adjective = foresaken - abandoned - knows not been there for while, when should have been

• Adverb - quite readily - adverbial phrase - happy to be there. Even though bleak in the present. Seeking closure for signs to relive it. Wants to emerse himself.

And the grass is grey

• reminding present cold winter

• Pathetic fallacy - cold wind blowing

• Symbolism summer happy, winter cold loneliness

• Grey - lifeliess want grass to be green - bland bleak. Loss of life.

  
  

Just as last year

And the sea breathes brine

From its strange straight line

• Interjection - saying to himself made it back

• Writing in 1912 - just as last year - very last time when they were there together

• Personification - continues breathes brine sibilance - continuity

• Strange straight line - sense continuity - here again as was before - horizon straight line - continuum

• Sticks from fire left behind - love for his wife

  
  

...

Into urban roar

Where no picnics are,

And one- has shut her eyes

For evermore

• two - his friends Newbolt and Yeats - they have disappeared into the big cities

• Metaphor - urban roar - onomatopoeia - animalistic- zoomorphic. Suggesting volume

• City place of chaos - noise and industry. Sense of judgement - aren't any picnics there

• Emma has shut her eyes - Euphemism

• Pointing out Emma has died. Whole poem is an Elegy - doesn't use her name - sense of grief

• Enjambment - And One - caesura - finality emphasis.

• Narrator visiting a garden place she and loved one has been before

• As she visits - garden same as did

• Feels angry no sign - lost loved one should be reflected in the garden

• Finds difficult that she isn't able to enjoy nature

• End poem = realisation because there is no sign of change. Person lost - big emotional response

• Most of her life in Oxford, devout Roman Catholic

Context

• Elizabeth - 1926- 2001

• Wrote 1958

• Modernism - literary movement. Level pretension - TS Elliot use illusion

• Group - 1950s said want poetry want to be clear and not illusionary - called The Movement - known for straightforward to the point blunt tone. Philip Larkin. Angry group. Only woman. Pushing against the idea Modernism, not Post Modernism

• Freud's Theory of Consciousness - look at consciousness - current thoughts, pre-conscious - can pull thoughts from . All other thoughts - subsconscious - triggered and come to surface and cause powerful emotions.

Themes

• Close relationship between place and memory

• How places enable us to recall emotions first experienced there

• Compare

  • Powerful emotions are recalled in Afrika when he returns to the place where he grew up

  • Hardy's Picnic - where lost love and happier times

• Emotions affect perceptions of time and place

• External landscape - unchanged yet her relationship is different dur to traumatic experience. Picnic - familiar setting overlaid with feelings of loss and sorrow that appears cold and grey even though it is recognisably the same

• Afrika claims nothing has changed referring to the political landscape whereas the physical landscape is unrecognisable, a formerly vibrant community given way to 'stones' 'grasses' and 'weeds'

• Stewart Island - tainted by her negative attitude towards New Zealand finding ugliness beneath a picture-postcard perfect landscape

• I - first person pronoun singular

• Plural - We - juxtaposition - change in status - poem not being there anymore

• Vague language - don't know the place or the time stamp - universality of the grief

• Narrator - not autobiographical poem

• Grief

And nothing to instruct me to forget.

• Vague language - 'anything' don't know what kind of loss. Death or divorced. Universal

• Personification - what the narrator is looking for - closure - told to forget by someone in this garden

• Nothing has changed -

  • All is as usual and there are no signs that she should feel differently

  • Changed - caesura - end stopping and enjambment across 3 and 4.

Singing in ecstasy

I could not share

• Personification - anthropomorphism - animal given human characteristics.

• Demonstrates about the way she is feeling - harmless and singing. Sees them as unkind and should be marking the occasions

• Heightened by the hyperbole - they are singing in ecstasy she can't share - extreme joy

• Bitter angry tone - can't resolve fact they aren't marking loss

• Surely the garden is so beautiful and peaceful (Pleasures/level) that it can disperse sad and unwelcome thoughts

An earthquake tremor

• Metaphor - not literally shaking

• Everything feeling is shaken up, juxtapose with gentleness - well tended gardens, the usual steady jets

• Suddenly coming from underneath

• Enjambment - consciousness - could be about the feelings coming form sub conscious up to conscious

Were shaken by my thinking of your name.

• Triad - represents gentleness

• Continuing metaphor - extended metaphor

• Savage force - intensity of realisation - thinking name person she has lost - extraordinary feeling of grief.

• No mention of name - demonstrating degree of loss

Summary

• starts off with monotony

• Regular life

• questioning - feeling anger - why do I feel like this

• Last stanza - because the place was the same and thinking of your name has created this force.

• Simple - perspective Robert Browning while in Italy

• Thinking about being back at home

• Thinking about nature - birds in trees and buttercups on the lawn.

• Comparison where he is now Italy and his home - celebration of England

Context

• 1812 - 1889

• 1845

• Poet and playwright

• focused on commentary social/historical issues

• Cultural shifts

• Romanticism

• Large amount life in Italy

• Met wife Elizabeth Barrett - moved from Italy in 1846 due to her ill health

• Scandalous affair - got married in secret as her father didn't approve

• Assumed writing this poem with Elizabeth - just there on his own holidaying - but still thinking back how wondrous England is.

Themes

• Compares Italy unfavourable to England

• Browning was very fond of Italy made it their home even though they returned to England for family visits

• Evokes sights and sounds of the English countryside infused with nostalgia for home left

• Similar to tone of Adlestrop with sense of lost Eden

• Importance of place in forming identity

• Contrasted with Stewart Island where distorted buy her dislike for the country of her birth

Now that April's there.

• Oh - wistful and longing phrase sets out emotions home sick

• Personification ish - April can move in and out

• Spring is very exciting

Round the elm tree bole are in tiny leaf,

While the chaffinch sings on the orchard bough

In England - now!

• Adjective - lowest bough

• Adjective - tiny

• Detailed decription

• Lines are increasing in length - builds growing emotion and excitement

  • Build up to the final line

  • Enjambment

  • Suddenly have break - caesura

• Adverb - Now - immediacy exclamative - emotional tenor of the poem but also be there

• Semantic field of nature fuelling his enthusiasm. Solace and comfort in nature

And teh whitethroat builds, and all the swallows!

Hark, where my blossomed pear-tree in teh hedge

• Shift in time

• Gone from immediacy - Now

• Second stanza imagining what comes next

• Personification - May is chasing

• Anaphora - And after, and

• White throat - bird

• Swallows

• Imperative - hark - instruction to reader - direct address

• Shift to the personal - drawing our attention to imagine his home and the sounds he is going to hear.

• Semantic field - nature

Lest you should think he never could recapture

The first fine careless rapture!

• Thrush wise

• Personification - sings each song twice over. Bird so clever - first hear beautiful may think it is a fluke so he does it again

• Emotive language - careless rapture - nonchalance to exquisite sounds as he is so talented can do it all again

• Exclamative - loving nature

-Far brighter than this gaudy melon-flower!

• Imagining fields with dew

• Buttercups - recalling childhood innocence

• Metaphor - children's treasure (dower)

• Far brighter - comparative adjective - er intensified by adverb - far

• Gawdy - showy and brash - Melons grow in Italy. Comparing nature in Italy with sweet understated beauty in England.

• Individual first experience in commerical flight first time

• Distinct narrative voice - inexperienced, discomfort, awe and concern what it means to built this technology

• Experienced - presenting their experience of being an easy affair

• 1929 - 2009

• English teacher first

• Worked pychiatric hospital inspiring. Some cases she observed she wrote about

• Wrote about social/historical commentary

• Rise commercial flights - observing moment

Theme

• Sits oddly in teh collections which focuses on memories of time and place strongly rooted in physical landscape

• Here- recollection of first time experience in generalised space - the cabin at no specific time

• Focus - emotions first speaker as she grapples with new sensation of being in flight and how the world and all that matters within it is diminished by distance

• Ideas of distance and how it can change perceptions of time and place Brownings Home Thoughts where England becomes a lost Eden

• Alvi's 'Presents' - homeland Pakistan becomes a mystical place but also symbolises duality of her upbringing as an immigrant

• Hurricane - distance is bridged by a shared weather system

• Hannah's Postcards - different attitudes to travelling

In a car I'd suspect low tyre pressure

• No The - Elliptical phrasing - missing the The.

• Caesura - punctuation in middle line. To create a jilted jarring start which unsettles you.

• Something discerting - line is broken up.

• Illusion to the familiar - tries to compare to something normal. Narrator to comfort of being on solid ground

• 
  

Off at an angle. The experience solidly.

This is rather a short hop for me

Read Guardians, discuss secretaries,

Business lunches...

• Sibilance - sudden swiftness

• zoomorphic - slithers - not Adam and Eve but suddenness of the angle disappears significant earth

• Juxtaposition her discomfort and experienced reading Guardians

• Adverb - solidly - how comfortable they feel

• Interrupted - rather a short hop - dismissive tone. Profound frightening experience for first narrator. As narrator is thinking she hears the experienced flyer, which also interrupts the enjambment

• Triad - tells us something about who these exprienced are - businessmen. Time period - businessmen

The next lot of water'll be the Med

Of cumulus, bearing the crinkled tangerine stain

That light spreads on an evening sea at home

• Shift language as inexperience more comfortable

• Metaphor - broad meringue kingdom - just like clouds

• Kingdom - heaven above the clouds, or how majestic the cloud is.

• Preposition - under us - plane above - status of position and power

• Interruption - declarative - authority - demonstrating expert in what to expect now - interrupts profound thought outside

• Metaphor - late light orange sunset echoes on water - beautiful imager interrupted with know it all.

Where we are now deals only with tomorrow,

Confound the forecaster, dismisses clocks

• Profound - social and cultural shifts

• Come too high for history - 1st person plural - inclusive - everyone. Does it twice.

• Metaphor -

  • time zones also learning lessons.

  • Progressing too quickly into the future lost sense history

  • Deals with only with tomorrow

• Personification

  • confounding and dismissing clocks - time zones -

  • now flying so high breaking rules live by - forecasts, time, shift in power.

    
    

Beijing. Peking, you'd say. Three weeks there, I was

Peking is wrong. If you've been there

You call it Beijing, like me. Go on, say it.

• Interruption know it all narrator -

  • arrogance - elliptical phrase - should be 'Do you' not 'Know where'

  • Demanding way of speaking

• Peking became Beijing - assumes person ignorant positioning himself as a person of authority

• Imperative statement - control and power

• Conversation second narratorship - becomes mundane becomes trivial and unimportant

• Second narrator tackling the big ideas

At this height nothing lives. Too cold. Too near the sun.

• Profound

• Mackerel wig - metaphor nature decides

  • Could be metaphor for clouds judges wear, like clouds

  • Mackerel sky - cloud formation just like a judges wig.

  • Metaphor justice of air - judgement

  • Nature decides whether we stay up or not. Most powerful

• or Man decides

  • Mackerel - fish long and sleek and silvery and fast - look like aeroplanes.

• Could be both - aeroplane dispense with justice of air ie man

  • Simultaneously - nature controls what we do - whether we live or die or man.

• Narrator - not possible to live - protected by metal tin - declarative statement

• Allusion - Icarus - flew too close to the sun and wings made melted and fell to his death

  • Warning when start playing God, moving too fast, forgetting about history - is this step too far, are we too arrogant, are we damaging ourselves

• Contrast- profound thinking and nonsense experience narrator.

• Narrator recounting holiday had in popular destination in New Zealand

• Starts manager's wife about how beautiful the place is

• manager's wife ran off with fisherman

• Activities she did and how spoilt

• Planning on leaving country

• Tongue in cheek

• Born 1934

• Moved to UK but had to return to New Zealand

• 2 unhappy marriages. Birth 2 sons, returned England permanently in 1963

• 1st not successful, 2nd physically abusive - back to UK where she lived

• Awarded OBE for services to literature in 1996

• Stewart Island - 3rd largest island in NZ. 80% nature reserve

• Recalls visit with 2 sons in 1971

Themes

• Places reflect the feelings of teh people that inhabit them

• One person's Eden is another one's Hell

• Whereas

  • Wordsworth use Westminster Bridge and

  • Adlestrop - Thomas

    to express feelings of wonder and delight,

  • Browning is filled with nostalgia for his homeland infusing it with beauty

  • Adcock's disillusion with her life is channelled into this account of her visit

• Compare

  • Blake's London - focus of injustices of his society

  • Hardy's Picnic - place of pilgrimage reflects feelings of sorrow and regret

  • Adcock - NZ place of deceit - picture postcard perfect but hiding a less pleasant reality

  • Idea of deception and disappointment

Said the hotel manager's wife

• In media res - right in the action

• What came before ?

• Open frontal coordinate conjunction - Negative

  • Negative one - But

  • Suggests person speaking is having to defend

  • Assume if line before - narrator - this place is awful

  • Engaging way to open

  • Conflict

all hills and atmosphere;

• True - starting adjective

  • Having to concede - is a fine bay

  • Compliment - fine - homonym (could be 2 different words

  • Fine - elegant

  • Also mean average

  • Undermining suggestion beautiful

• Vague language - all hills and atmosphere - nothing specific. All up and down. Too samey.

It was too cold to swim. My

seven year old collected shells

and was bitten by sandflies;

• Shift in tone - As for me - previously with hotel manager's wife

• Walked on the beach - juxtapose negativity

• Enjambment - My spills onto the next line - angry line - drawing attention to age - 7 year old young vulnerable

• Juxtaposition - typical holiday behaviour and bitten - disappointing end.

a mad seagull jetted down

to jab its claws and beak into

his head.

• violence escalated

• Me - adult woman

• 7 year old

• Then 4 year old - younger in age

• too cold, bitten and then attacked by seagulls - escalating violence

• Enjambment - mad seagulls places emphasis focus subject - personified making seagull seeming more dangerous

• Alliteration- Jetted and jabbed - violent emotive verbs

• to jab - purposefully attempting to hurt 4 year old boy

• Preposition - into his head - more violent emphasises the violence and disappointment.

• Adverb - already

• Past perfect tense

• Disappointing holiday not reason for leaving, already planned

• Difficult relationship with husband

• Already feeling negative

• Enjambment - decided - certainty

• NZ not just Stewart Island - all experiences spoiled by negative time had in NZ

• Autobiographical poem

• When teenager - aunties would send her presents traditional

• discomforts surrounds cultural identity

• Culture back home - never really lived there but still feels out of place in UK

• Memories cloting she is sent

Context

• 1954 Lahore Pakistan - few months old no living memory

• Mother from England, Father Pakistan - his sisters sending presents

Knowledge of the area - fractured land - Bangladesh wars 1971 - reflecting back

Theme

• Concepts cultural identity - Hurricane hits England

• Belonging

• Compare

  • Hurricane hits England

  • Stewart Island

  • Both poets emigrated to England in their youth

• Sense of place where they were born and importance of forming identity

• Compare country born with adopted country

peacock blue,

and another

glistening like an orange split open

• They - third person pronoun - not told who this is. Other person kept at a distance

• Active voice - 'they' subject sentence

• Powerless - Memory of her as a teenager - object - sense of powerlessness - she is sat in England and gifts are sent to her without asking for them

• Vivid colour imagery - peacock, orange, candy striped

• Glistening - simile - positive connotations

• But violent verb - split open - feeling torn or split. Candy striped bangles snapped

• Even though clothing beautiful - about violent connotations way it makes her feel

• Juxtapose violence with beauty

• fragmented lines

  
  

was alien in the sitting room...

My costume clung to me

and I was a flame

I couldn't rise up out of its fire

• Hypen - compound

• satin and silk

  • rustling

  • Sibilant

  • luxury items worth and value

• Alien - juxtaposition - familiarity. When she wears the clothes she feels alien in her English surroundings.

• Feelings about wearing

  • costume clung to me - personification - playing a role

  • Negativity - claustrophobia - clung

• Alliteration - costume clung - cc sound

• Couldn't rise up out of its fire - illusion rise up out of fire - phoenix burns and rises. She says she can't do that

• I was a flame - embarrassment cheeks on fire

• Its fire

Indian gold, dangling, filigree

But it was stolen from our car.

The presents were radiant in my wardrobe

My aunts request cardiagans

form Marks and Spencers

• Lehore Pakistan and UK - juxtaposition

  • Mother England and Father Pakistan

• Cherished - emotive verb

• Triad - Indian gold, dangling, filigree (film to create intricate patterns

  • Beautiful jewellery that comes into her home is cherished by her mother. Bit of guilt that she is not able to cherish the beauty of the clothes

• Juxtapositon/anticlimax - stolen from car. Crime in UK - criticism

• Juxtaposition - radiant in wardrobe - radiant and incredibly beautiful glowing, shine from them.

• Cardigans M & S - British shopping - ordinary. Logged denim and cordorouy - requesting same kinds of things she is wearing at home.

from fifties' photographs.

When I was older

There was conflict, a fractured land

throbbing through newsprint

• Reflective in tone - depict birthplace from 50s photos

• Juxtaposition - place when young and when older

• Conflict

  • Metaphors - fractured land - illusion Bangladesh war 1971 - reading news conflict from UK

  • Fractured - conflict broken up - is also how she is feeling

  • Throbbed - how intensely she reacts like blood rushing through her veins

  • How much impact this has on her.

and I was there-

pr no fixed nationality

staring through fretwork

at the Shalimar Gardens

• Screen from male visitors - culture Pakiston

• Or beggars - imagining 2 kinds of ways of life - life screened from men but comfortable in homes or homeless and sweeping the streets

• I was there of no fixed nationality - fragmented line. Unfixed - she doesn't fit - line split straight down middle

• Staring through fretwork - enjambment fragmented lines

• Fretwork - you can still see through them

• Shalimar Gardens huge and beautiful gardens - staring through fretwork - being an outsider and not fitting. Outside looking in. Not even clear vision

• Feelings discomfot - not knowing where she fits.

• Autobiographical

• Returns to District 6 - first time returned since Apartheid abolished

• What he does walks through town, looks at restaurant and looks at differences.

• Despite Apartheid abolished - racism and discrimination still there - nothings changed

Context

• Apartheid - racial segregation - South Africa

• Started 1948, abolished 1990s - not one day everything changed

• Took number years for laws to change

• 1994

• Afrika - can't remember when he wrote it, but at time Apartheid abolished but still early days.

• Cape Town segregated into areas as to who could live there.

• District 6 - only white, would be shipped out - includes Tatutum KulaAfrika

• Fought in WWII 0 capture and imprisoned at siege of Tobruk in 1942 On return adopted

• 1964 - converted to Islam and toom the Ismail Joubert

• Joined ANC - Nelson Mandela's group. Arrested for terrorism. Same prison as Nelson Mandela. Because of arrest granted - Tateum Kula Afrika

• Measures against white, African, Indian and Coloured people

• Born Egyptian and Turkish heritage.

• Parents died of flu - adopted. Given white identity - called John

• Hertitage - wasn't white

• Could have continued living in District 6 as a white person in South Africa

• When arrested and put into prison for terrorism - wasn't allowed to write for 5 years. Name granted to him by ANC - Grandfather Africa

• Looking to see something different - sees same discrimination and racism.

Theme

• Nothings changed - ironic

• While poem written legalised apartheid been abolished, Africk sees signs that racial segregation remains systemic in South Africa

• Otherhand - everthing has changed in District 6 - once a vibrant, multi- racial community reduced to wasteland by authorities promote policy of segregation

• Importance of place in creating identity

• Expresses how a place can recall a particular time stimulating memory

• Afrika's identity is more fluid than most

• Compare

  • Wordsworth's On Westminster Bridge

  • Thomas' Allestrop

  • Hardy's - Where the picnic was

  • Capture particular moment in time in a particularised place

  • Blake's London - uses place to convey a policitical message about disadvantage and priviledge

under my heels,

seeding grasses thrust

bearded seeds

into trouser cuffs, cans

• Sensory language

  • Monosyllabic + onomatopaic words

    • click - creating vivid sound image of his footsteps remembers so well

• Sibilance 'seeding, grasses, thrust, seeds' - long tall grasses with seeds coming out of them and rustling in the wind. Momentic - grasses and the seeds brushing against him.

• Juxtaposition - plosive alliteration - 'cuffs' and 'cans'

• Repeated T sounds - harsher - beginnings - juxtaposition between positive and negative

• Dynamic verb - thrust - violent verb - concept conflict

• Journey back place

  • - thrown out of because of conflict

  • Setting up - District 6 - area feels uncared for, lot of litter and abandoned.

• Ironic - reason said they were just slums and needed to be redeveloped but they have done nothing

and the skin about my bones,

and the soft labouring of my lungs,

and the not, white, inwards turning

anger of my eyes

• He says District 6 - no sign to tell him that but his feet know

• Anaphora - and' - build up tension

• Increase in line length - mounting

• Nouns - travelling up the body

  • Semantic field body - all parts body know where he is.

  • Extension personification - feet knowing where he is

• End - line lengths increase and then shorten

• Consonance in the repetition of the Ts - dotted in middle and at the end - angry

• Enjambment - emphasis - anger

• Why of my eyes - feeling building of the body - going upwards - eye - next thing he sees.

name flaring like a flag,

it squats

• it - restaurant - sees amongst land - for white people only

• Brash with glass - suggests showiness unapologetic

• Flying like a flag - simile - unapologetic about identity

• Fricative alliteration -

  • ff sound - flaring, flag

  • Effect - angry tone. FF good demonstrating anger - naughty word

• Squats - metaphor -

  • techncially personificaiton

    • animalistic about squatting in grass

  • Squats 2 meanings

    • Sitting low down

    • Takes over place without rights

    • Restaurant shouldn't be there - taken ownership without rights

linen falls,

the single rose.

Spit a little on the floor,

its in the bone

• Continues to describe

• Semantic field luxury - haute cusine

• Juxtaposition

  • Working mans cafe - can eat at table or on the floor

  • Its an imperative to spit on the floor

  • No airs and graces

  • Sense of natural, informal and easy - where he feels most relaxed

  • Clear - juxtaposition restaurant with guard at gate post and informal place

  • Goes back to being at the restaurant - looking in with his nose pressed up against glass.

for a stone, a bomb,

to shiver down the glass.

Nothings changed.

• Metaphor - hands burning desperate for a stone

• Noun changes -

  • stone to a bomb - escalation of violence

  • or - bomb metaphor - referring back to when accused of terrorist activity

  • Verb - shiver down glass - personification - humans do - small movement

  • Want he wants to do is destroy the glass but not to create harm - wants to remove the segregation - representative of the glass

• Nothings changed - declarative - cyclical structure. Begins and ends same way - same message.