Character and Voice-Revision Guide

HarperCollins Publishers 2010 Cluster 1: Character and Voice 29
Cluster 1
Character and Voice
The poems in this cluster share a focus on people as individuals in some cases
and in others as character types used to comment on aspects of the human
condition.
Sometimes, as in The Clown Punk or The Hunchback in the Park, we are invited
to observe a character from an outside perspective. Other poems use the first
person or dramatic monologue to offer a direct insight into a character, for example
Medusa or Casehistory: Alison (head injury).
Some poets use form and structure to communicate a voice often in surprising
and illuminating ways, as in My Last Duchess or Checking Out Me History.
When studying this cluster, it might be useful for students to focus on some of the
following considerations:
Is there one specific character, or is the poet focusing on a character type?
What is the poet using this character for do they represent something about
human nature in general?
Whose is the voice? Is there a clear persona or is the poet speaking directly
to the reader? Crucially, how is this voice created? What techniques does the
poet use?
What is the effect of the voice does it create irony / empathy / pathos?
Consider perspective: from whose point of view is this poem written? Is it
first person, second person or third person address? To whom is the poem
delivered? In dramatic monologues there is often a specific audience, for
example. Is the poem set in the moment or is it more reflective?
Why has the poet written this poem? What feelings, attitudes and/or ideas is
the poet considering through their presentation of this character?
How does the poet communicate their ideas? What aspects of language,
structure and/or form are particularly significant in this poem? What literary
techniques is the poet using to achieve their effects?
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ExpAQA_Ch2PoetryClusters1Char&V_pp29-60_FINAL_Layout 1 28/05/2010 13:15 Page 29
The Clown Punk
Simon Armitage
Background and Context
The Clown Punk comes from the collection Tyrannosaurus Rex Versus the
Corduroy Kid (2006), which deals with themes of conflict between different types
or groups of people. This poem is based on a real character and a real event:
Armitage has described how this heavily-tattooed figure once leaned towards his
car when he was stopped at traffic lights. Figures from the high punk era of the
late 1970s presented an aggressive, nihilistic attitude towards the establishment
in their music as well as their striking physical image. Armitage explores this
image in The Clown Punk, examining the reaction the punk wishes members of
the establishment to have towards his appearance, and combating this with his
own ironic view.
Juxtaposition of types:
a clown is deliberately
ridiculous and silly, whereas a
punk wishes to be seen as a
dangerous rebel
Simile is used to mock
makes him sound undignified,
ridiculous
Stereotypical image creates
more pathos than threat
Verb suggests a poorly
executed painting
Enjambment draws attention
to the expected reaction,
negating the automatic
reaction of fear completely
Full rhyme and repetition of
town draws attention to key
idea as well as creating a
humorous tone
Play on word sad creates
both pathos and criticism: he
is pathetic as well as tragic
Colloquial, informal language
to provoke laughter rather
than fear and lighten the tone
in order to reassure the
children whom the poem
addresses
Word structurally highlighted
to draw attention to the
change of direction from
ridicule to pathos
He is image only
Use of imperative verb
picture highlights the power
of the imagination: that
children can create images of
their own to combat their fear
Imperatives instruct children
how to wash away his image
GLOSSARY
shonky dilapidated,
run down
30 Chapter 2 Moon on the Tides: the AQA Poetry Clusters HarperCollins Publishers 2010
See page 268 for more
on the punk movement
on Simon Armitage
The Clown Punk
Driving home through the shonky side of town,
three times out of ten youll see the town clown,
like a basket of washing that got up
and walked, towing a dog on a rope. But
dont laugh: every pixel of that mans skin
is shot through with indelible ink;
as he steps out at the traffic lights,
think what hell look like in thirty years time
the deflated face and shrunken scalp
still daubed with the sad tattoos of high punk.
You kids in the back seat who wince and scream
when he slathers his daft mush on the windscreen,
remember the clown punk with his dyed brain,
then picture windscreen wipers, and let it rain.
Compares with
Give and The
Hunchback in the Park
outsiders
On a Portrait of a Deaf
Man and The
perspective and point of view
Medusa, The River
God and Ozymandias
powerful characters
Targeting C
How does Armitage want
the reader to feel about the
clown? Students could
consider whether he wants
us to pity or mock him.
Targeting A/A*
How does Armitage subtly
convey to the reader his
attitudes to the clown
punk? Ask students to
consider use of irony
and subtext.
Themes and Ideas (AO1)

In this poem the voice is the poets own. The character is the punk, a
local figure in Armitages home town. The register is relaxed and informal,
presenting the event and the feelings it provokes through colloquialisms and
everyday language.
The punk movement was arguably one of the most significant periods in
modern musical culture, strongly linked to rebellion against the established
middle-class culture of the 1970s. The punk of this poem appears to conform
to expectation in terms of his behaviour: he slathers his daft mush on the
windscreen presumably with the intention to shock and frighten. He is an
outsider not only to the car but also to established society.
Yet the title of the poem brings together two equally visually striking figures:
the clown and the punk. Armitage uses a simile to suggest that the punk is a
figure to be subtly mocked (like a basket of washing that got up and walked).
He assumes that we will immediately laugh and, instead, describes a rather
pathetic image of the man as he ages, looking ridiculous with his deflated face
and shrunken scalp. He seems to be suggesting that we ought to pity rather
than mock him, although there is a more subtle sense that both these reactions
are being fostered as a way of combating the childrens immediate sense of
fear the reaction that of course the punk wants us to have. The reference
to dyed brain suggests that the mans choice of visual persona goes much
deeper than the surface image. There is pathos in the fact that the image the
punk has chosen to display to the world is indelible and therefore impossible to
change. The final couplet possibly offers some redemption to the punk himself
as if his persona can be wiped away.
Key Points about Language, Structure and Form (AO2)
The semantic field of image creation, created by pixel, ink, daubed,
dyed and picture, perhaps suggests that this figure is more image than
reality his image, which is a fundamental aspect of the persona he
presents to the outside world, is in reality nothing more substantial than
a picture. It is a creation.
Second person address towards a general audience at first, although
towards the end of the poem Armitage speaks directly to the children who
are frightened of this character. His ironic mockery of the punks attempt
to shock is possibly designed to combat their fear, thereby diminishing the
punks power. The use of imperatives in the final couplet guides the
readers reaction as well as the children in the back of the car.
Form and structure: Armitage plays subtly with this, creating some sound
patterns with assonance and consonance (skin/ink and scalp/punk). The
only full rhymes are at the very start and end of the poem (town/clown
and brain/rain). These rhymes encapsulate the vignette being described,
containing it within a specific moment in time.
Exploring the Poem
Stanza 1
1 introduces refrain Dem tell me which implies passivity, being lectured by
an authority figure
Stanza 2
45 refer to attempts by authority figures to blind the persona to his own history
and identity
Stanza 3
6 refers to a date from white British history
7 mention of a childrens story (based on fact) suggesting the equal
irrelevance of both to his cultural identity
Stanza 4
1021 italicised story of Toussaint LOuverture stresses its relevance
18 metaphor suggests danger and threat
20 beacon suggests symbol, light, danger, guide
Stanza 5
2225 increasingly fictional quality to the history
Stanza 6
2631 metaphors to describe power, illumination and strength
Stanza 7
3235 contrast of figures from white European and black history
Stanza 9
4049 story of Mary Seacole narrated with lyrical elegance, again with metaphors
linked to light (healing star, yellow sunrise)
Stanza 10
5253 change of tone marked with but now to suggest taking control, and
contrast between past (history) and present.
53 use of identity as the final word focuses the reader clearly on the theme of
the poem
John Agard (1949) was born in Guyana and moved to the UK in 1977. His mixed-
race heritage provides thematic material for much of his work: issues of cultural
identity, political voice and patriotism are subjects he writes about with passion.
In Checking Out Me History, published in 2007, he employs the Caribbean Creole
often used in his performance poetry to present the voice of a young black man
angered and disenfranchised by the lack of relevant cultural history in his
education. The character, although a persona, resonates with Agards
personal feelings.
GLOSSARY
Toussaint
LOuverture
leader of the Haitian
Revolution of 1797
Nanny the Maroon
leader of the Jamaican
Maroons, runaway slaves
in the 18th century who
resisted British forces
Caribs ethnic group
descended from African
slaves and Amerindians,
they resisted but were
eventually displaced
from the Caribbean by
European forces in the
19th century
Arawaks West Indian
people, treated so harshly
by the Spanish in the
15th and 16th centuries
that the entire population
of 60,000 was wiped out
Shaka the Zulu
most famous, influential
Zulu leader and warrior
Mary Seacole
Jamaican heroine of
Crimean War, she paid
her own way to the
Crimea where she fed,
nursed and cared for
injured British soldiers
Checking Out Me History
John Agard
Compares with
Singh Song language
and cultural identity
Casehistory: Alison and
Man sense of identity
Targeting C
Is there a difference in the
type and form of language
used to present the white
figures and the black
figures? Students could
identify and comment on
what Agard seems to be
suggesting about his
different attitudes towards
them from the language he
uses to present them.
Targeting A/A*
How might Agards use
of rhythm and repetition
link to the idea of
indoctrination? Students
could explore the links
between the tone of the
poem and the way ideas
are presented.

The opening phrase, Dem tell me, becomes a repeated refrain. The dem
is an unspecified authoritarian voice parent, teacher, political body who,
through omission, blinds the speaker to any wider perspective on political or
cultural history (specifically, black African and Caribbean). Agard fuses British
history with fairy tale and nursery rhyme, suggesting they have equal cultural
insignificance to him and implying that our sense of cultural identity starts
being formed at a very young age.
Tales of black cultural and political figures are italicised, emphasising their
importance as well as their separateness from the accepted view of history
taught by the British. The tone of these passages is markedly different also:
they have a lyrical, poetic quality and include figurative language perhaps
suggesting that the figures have a far greater significance to Agards view
of his cultural heritage. Whereas the rest of the poem is delivered in a
sing-song style with repeated refrains and matter-of-fact language, these
passages have a dreamlike tone, using imagery of light and fire to connect
the figures linguistically as well as thematically.
Agard chooses figures who exemplify struggle, rebellion and power,
demonstrating his desire to assert the voice of black culture. He highlights the
dilemma faced by those who have no power to further their political or social
cause, and therefore have no choice but to rebel. In the last two lines, he joins
this rebellion with the powerful shift from Dem tell me to But now I. The
poem does not end with a full stop, indicating that his journey is not over.
Imagery, particularly metaphorical language, unites Toussaint LOuverture,
Nanny the Maroon and Mary Seacole. Toussaint is described as a beacon,
Nanny as a fire-woman, Seacole as healing star and yellow sunrise.
These images suggest power, vision and leadership.
Rhyme is used for specific effect within a free-verse poem, drawing
attention to particular ideas, images and feelings. In lines 4045 the
full rhymes of go/no/snow highlight Mary Seacoles defiant attitude,
foreshadowing Agards own defiance in the final stanza.
Agard also plays with rhythm. Using a refrain creates a mounting
accusatory tone with dem tell me. The story of Toussaint LOuverture
is delivered as a chant, as if Agard is orally offering his support to the
revolution.
The overall lack of punctuation as well as the use of Creole represents a
refusal to follow standard English and an assertion of pride in the poets
own language and heritage.
Horse Whisperer
Andrew Forster
Andrew Forster (1964) is a Yorkshire-born poet and writer whose first collection,
Fear of Thunder (2007), was greeted with acclaim. His poetry is often described
as sensory and narrative in style. Horse whisperers were very important in the
days before machinery, when farmers relied a great deal on horses. Their ability
to communicate with horses, and calm them down, gave them an almost
supernatural aura. In his poem, Forster uses the voice of one horse whisperer
to speak for a wider group whose skills with horse-taming were later rejected
by a changing society.
This poem explores ideas of superstition and belief, and the power of natural
forces. Forster suggests that the rejection of one tradition is symptomatic of
humanitys tendency to discard established customs in the name of progress;
to turn admiration and awe into distrust and even violent rejection.
Anonymous they suggests a
large group possibly
rural/farming community
Evokes the senses in the
reader using smell to tame/
communicate with the horse
At first he is desperately
needed
Refusal to be tamed
Repetition to reinforce the
message that the need was
all on one side
A reference to The Toadmen
who used bones of toads as
charms to tame horses
Identifying with the horses
Suggests power, strength,
speed and ultimately being
part of a group
Secrets of his trade
Symbol of modern technology/
mechanisation
Condemned by religion
Suggests medieval
superstition
Horses perceived as
dignified and majestic
He has made a pact
identifying with an
established group
Enjambment emphasises the
change in attitude how he is
looked down on, cast out
Enjambment and internal
rhyme stress no more
foregrounding his power to
destroy the relationship
between man and horse as
well as create it
about horse whisperers
Horse Whisperer
They shouted for me
when their horses snorted, when restless
hooves traced circles in the earth
and shimmering muscles refused the plough.
My secret was a spongy tissue, pulled bloody
from the mouth of a just-born foal,
scented with rosemary, cinnamon,
a charm to draw the tender giants
to my hands.
They shouted for me
when their horses reared at the burning straw
and eyes revolved in stately heads.
I would pull a frogs wishbone,
tainted by meat, from a pouch,
a new fear to fight the fear of fire,
so I could lead the horses,
like helpless children, to safety.
I swore I would protect
this legacy of whispers
but the tractor came over the fields
like a warning. I was the life-blood
no longer. From pulpits
I was scorned as demon and witch.
Pitchforks drove me from villages and farms.
My gifts were the tools of revenge.
A foul hex above a stable door
so a trusted stallion could be ridden
no more. Then I joined the stampede,
with others of my kind,
to countries far from our trade.
Compares with
Medusa and The River
God malevolent or
vengeful power
The Hunchback in the
Park isolation and
loneliness
Ozymandias change,
the passing of time and the
decline of power and
influence
Brendon Gallacher
loss, regret, nostalgia
Targeting C
How does Forster use
language to demonstrate
his admiration for the
horses? Students may find
it useful to identify all the
words and phrases used to
describe the horses in the
poem.
Targeting A/A*
How is the theme of old
versus new exemplified
through the contrasting
language in the poem?
Ask students to consider
the ways in which the
personas attitude towards
those who discard
established traditions
is demonstrated.

The ancient tradition of horse whispering has its roots in folklore and
superstition. Often surrounded with Masonic-like secrecy (a legacy of
whispers), the skill of the horse whisperer was far more to do with body
language and empathy than charms and hexes. Forster is possibly using the
changing perception of horse whispering to exemplify the human tendency to
discard and scorn outmoded ideas when they are no longer needed. The
persona or voice here remains the same, although attitudes towards him
alter fundamentally through no fault of his own.
Initially, humans needed the skill of the horse whisperer to help them tame
the majesty of the horse often portrayed as a mystical animal. The tools of
his trade are merely props which at first give his art a sense of mystique and
ritual but then become a focus for superstitious fear, which coincides with the
replacement of the horse by the tractor. The horse whisperer clearly identifies
with the forces of nature; when the traditional customs he embodies are
rejected, he at first wreaks revenge on those who turned against him before
joining the stampede away from distrust and antipathy. Forster evokes a
powerful sense of awe for the horses through the language used to describe
them, ending the poem with the repetition of pride, not only the horses pride,
but also the lost pride he once took in the role.
Vocabulary / lexis is used to exemplify tension between beauty and danger.
Respect and admiration for the power and beauty of nature (shimmering,
stately, glistening, steady, trusted) contrasts with negative language
(shouted, restless, bloody, demon, burning, revenge). The contrast
suggests a tension between fear/awe and need/admiration.
The use of free verse reflects the shifting and changing perceptions of
human nature. Enjambment emphasises key ideas: I was the life-blood / no
longer, so a trusted stallion could be ridden / no more. The free verse also
intensifies the effect of repeating the pride in the final two lines, creating a
pattern within an otherwise free-flowing form in order to intensify the
message it contains.
Senses are evoked through descriptions of sound and smell as well as
sight. The powerful use of alliteration in the first stanza creates the
whispering which resonates throughout the poem:
shouted/snorted/restless/traced/circles/shimmering/secret/scented.
A visually intense description
of power and strength
Repetition of pride
embodied in the horses, but
possibly also in himself and
his trade
Still I miss them. Shire, Clydesdale, Suffolk.
The searing breath, glistening veins,
steady tread and the pride,
most of all the pride.
Medusa
Carol Ann Duffy
One of Britains best-known poets, Carol Ann Duffy (1957) became the first
female Poet Laureate in 2009. Medusa is taken from The Worlds Wife (1999), a
collection in which female figures from history or the wives of literary or historical
figures are given their own voice. In Medusa, it is the Gorgon eventually slain by
Perseus in ancient Greek mythology who delivers her dramatic monologue.
Length of line symbolises
the snakes on her head
Plosives emphasise her
strength of feeling
Semi-repetition creates a
sinister, emphatic quality
to her statement
Everything she looks upon is
destroyed there is a sense
of mindless destruction, so
all-consuming is her jealousy
Verb links with spattered to
demonstrate strength of her
power to destroy
Strength of word intensifies
her attitude to her life
Alliteration and sibilance
used to suggest the sound
of the snakes
Her pain has made her
dangerous (literally her tears
turn to stone as they leave
her eyes)
She will possess him at all
costs a suggestion of
madness or obsession
perhaps? Rhyme scheme
intensifies the impact of
stone
Is there a sense
that she hates
her reflection?
Repetition of
question displays
her insecurity
Single line emphasises the
paradoxical final request
both a plea and a threat
Medusa
A suspicion, a doubt, a jealousy
grew in my mind,
which turned the hairs on my head to filthy snakes,
as though my thoughts
hissed and spat on my scalp.
My brides breath soured, stank
in the grey bags of my lungs.
Im foul mouthed now, foul tongued,
yellow fanged.
There are bullet tears in my eyes.
Are you terrified?
Be terrified.
Its you I love,
perfect man, Greek God, my own;
but I know youll go, betray me, stray
from home.
So better by far for me if you were stone.
I glanced at a buzzing bee,
a dull grey pebble fell
to the ground.
I glanced at a singing bird,
a handful of dusty gravel
spattered down.
I looked at a ginger cat,
a housebrick
shattered a bowl of milk.
I looked at a snuffling pig,
a boulder rolled
in a heap of shit.
I stared in the mirror.
Love gone bad
showed me a Gorgon.
I stared at a dragon.
Fire spewed
from the mouth of a mountain.
And here you come
with a shield for a heart
and a sword for a tongue
and your girls, your girls.
Wasnt I beautiful?
Wasnt I fragrant and young?
Look at me now.
Compares with
The River God and My
Last Duchess obsession
and jealousy
Ozymandias power and
tyranny
Targeting C
How does the poet
demonstrate Medusas
conflicting attitudes
towards her lover?
Students could find
evidence for the conflicting
emotions she demonstrates.
Targeting A/A*
How is Duffy using Medusa
to examine attitudes
towards women and
relationships? Ask students
to consider the use of
dramatic monologue as
metaphorical voice for
other modern voices. Why
might Duffy have revisited
this myth from a different
perspective?

Duffy uses the Medusa paradox as a metaphor for the pain and passion
of relationships, the danger and violence of love gone wrong. Medusa has
become a major feminist symbol: punished by Athena for her beauty (or for
her natural libido) according to Greek myth, stories of her guilt continue to
be open to interpretation. In this poem, Medusa is a woman turned ugly
and undesirable by jealousy and possessiveness. Her passion turns into a
dangerous obsession, until she is prepared to possess at all costs even if
it means causing the death of her Greek God. However, there is a strong
sense of self-loathing underlying the threats of violence: she sees herself
as filthy with grey bags for lungs and foul mouthed / foul tongued.
Duffy suggests that it is the womans relationship with her man that has
caused this drastic change from being fragrant and young as if the man
with his girls has turned her into a monster of jealousy. There is pathos
in the speakers description of turning everything she looks at into dust.
Pathos could also be seen in her recognition in the last stanza that the man
she loves is armed against her and will inevitably cause her destruction with
his shield and sword.
However, her last line, given great structural emphasis, is hugely ambiguous.
It could be a heart-felt plea for attention as well as, of course, a heavily ironic
threat and reminder of her capabilities. The paradox for Medusa is that she has
become trapped by her own power. Duffy may be suggesting that the negative
and destructive qualities of revenge will eventually undo their perpetrator.
Rhyme and half-rhyme are used to stress ideas and build crescendos
of emphasis in particular the stress on stone is foreshadowed by
own/go/home in the third stanza, just as housebrick/milk/pig/ are used
to strengthen the impact of shit. As well as referring to the pigs bed,
the expletive could also possibly refer to Medusas attitude towards the
destroyed relationship or even the situation she finds herself in.
Present participle adjectives stress the constant destruction of innocent life,
possibly implying Medusas regret at the mindless, arbitrary way she can
destroy: buzzing bee, singing bird and snuffling pig. Her apparently
innocent looks and glances cause instant petrification.
Negative language reinforces the pathos of Medusas self-image she
refers to herself with loathing (filthy, soured, stank, foul). However, this
obsession with her own victimisation eventually turns hearts to stone. The
verbs shattered, spattered and spewed all intensify the sense that her
life is out of control.
Exploring the Poem
The title is a light-hearted play on words, setting the tone for the whole poem.
Punctuation is used to emphasise the mood and attitude of the speaker.
Stanza 1
1 just one of daddys shops he only has limited accountability; perhaps
this is the first time he has been entrusted with responsibility
3 he vunt me not to hav a break highlights the fathers need for the son to
take this hard-earned responsibility seriously
Stanza 2
67 repetition of share suggests that the couple have an equal partnership
9 play on words: Putney is Punjabi for wife, and also an area of south-west
London
Stanza 3 (and 8)
italicised refrain to present the perspective of other shoppers, who act like a chorus
commentary in classical Greek theatre
Stanza 4
1921 imagery to suggest the wife is dangerous and powerful (on di web,
netting and playing vid di mouse); the customers are her meat and
she tempts them with cheese this could also hint at the dynamic in
their relationship
Stanza 6
2829 contrast of gun and teddy suggests conflicting feelings towards her;
she is both comforting and dangerous
Stanza 9
43 change of voice to second person, speaking directly to shoppers
4350 midnight gives suggestion of magic; extended metaphor of moon (cool,
whispering and silver); moon imagery links to the idea of honeymoon
50 brightey moon suggestion of Blighty
Daljit Nagra (1966) is a poet and English teacher. His poetry focuses on the
experiences of British-born Indians, especially those of Punjabi origin. He uses a
particular dialect of Punglish in Singh Song!, which is the name given to the form
of English spoken by Punjabi immigrants to Britain in the 1960s and 70s. His father,
like many Punjabi parents who settled in Britain at this time, strove for years in a
range of menial jobs in order to save enough money to buy a local shop. This poem
is from Look We Have Coming to Dover (2007), a collection about the tensions
between races and generations, assimilation and cultural identity.
GLOSSARY
brightey suggestion
of Blighty, which was a
Punjabi word for Britain
originating from the
British occupation of
India during the Raj
Singh Song!
Daljit Nagra
Compares with
Checking Out Me
History cultural heritage,
cultural conflict, language
and voice
Horse Whisperer
cultural change, progress
The River God,
Medusa and My Last
Duchess dramatic
monologues and voice
Les Grands Seigneurs
and Brendon Gallacher
dream worlds and romance
Targeting C
What do we find out
about the characters of the
speaker and his wife in this
poem? Ask students to
consider how the poet
demonstrates what they
are both like from the
descriptions of their
attitude and behaviour.
Targeting A/A*
The personas lack of
respect for his fathers
legacy is juxtaposed with
his preoccupation with
passion and romance.
Could Nagra be suggesting
that the second generation
may have a different
perspective from that
of first-generation
immigrants?

Nagra uses a light-hearted lyrical style to present the voice of his persona: an
inexperienced, newly-married shopkeeper who is far more interested in his
young bride than his responsibilities to his father. His wife appears to have
modern attitudes towards her role: she wears modern clothes, is disrespectful
to her in-laws and has set up her own business, an internet dating site for
Sikhs. She appears to be adopting a pragmatic attitude to life as a modern
Sikh woman, modernising the age-old family tradition of families helping to
arrange marriages. Rather than rejecting her cultural role, she shows the
ability to adapt.
The young shopkeeper is repeatedly criticised for having the worst Indian shop
on the whole Indian road. The voices of his customers contrast with his own
breezy self-assurance and refusal to be distracted from his honeymoon by the
mundane practicalities of stale bread and opening times. Intoxicated by his
love for his wife, he spends his nights in a cool/ whispering/silver version
of his daytime concrete/precinct world, staring at the brightey moon. His
midnight world of dreams, where the young couple ignore their immediate
surroundings, is far more important.
Although surrounded by concrete cool, the couple stare past the world
of the precinct to a much more romantic, idealised future. The last line
suggests that the young mans relationship with his wife is priceless
and far more important than his role as dutiful son.
The voice is a second-generation Punjabi speaker. Nagra uses a strong
dialect to enable the voice in the poem to be clearly heard.
The shoppers provide an italicised commentary on the sons abilities as
shopkeeper. Structurally, this creates a gap between their view and his
self-perception, suggesting that the opinions of the wider community do
not affect or influence him.
Nagra plays with language in a light-hearted way the puns in the title
and the references to Putney and brightey overlay English with Punjabi
in order to highlight cultural differences as well as similarities.
Stanza 10
5158 series of couplets with repeated refrains, giving the impression that
the couple are in tune with each other
58 their love is priceless, contrasting directly with the priced items in
the shop
Brendon Gallacher
Jackie Kay
Jackie Kay, (1961-) is a Scottish-born poet who often writes about cultural
identity, the power of language and the power of the imagination to comfort and
console. Brendon Gallacher comes from Twos Company, a collection of poems
for children published in 1992. Like many of her poems it contains strongly
autobiographical elements. The voice in this poem looks back to her younger
self, reminiscing wistfully about the character she created in the form of an
imaginary friend.
GLOSSARY
burn Scottish dialect
word for stream
Possessive pronouns reinforce
the importance of the
friendship and perhaps the
fact that he really does
belong to her, and is the
product of her imagination
Exotic, dangerous ideas
Offers the protection and
leadership of an older brother
Use of dialect adds to
informal tone
Childlike language suggests
the voice of a child
recounting the narrative
Does Brendon represent
freedom from restrictions,
perhaps?
Enjambment draws reader
towards the dramatic
conclusion
Suggestion of displacement
perhaps the persona wants to
escape to another place
herself
Use of direct speech adds to
natural, informal style
Alliteration and use of present
participle suggests the life and
fun Brendon represented
Repetition highlights the
enormity of this day the day
that Brendon dies
Pathetic fallacy foreshadows
the ending
Colloquialism also marks the
move to present tense,
creating immediacy
Most clear suggestion of
myth/fairytale
Repeated refrain gives a
song-like quality to the elegy
Brendon Gallacher
He was seven and I was six, my Brendon Gallacher.
He was Irish and I was Scottish, my Brendon Gallacher.
His father was in prison; he was a cat burglar.
My father was a Communist Party full-time worker.
He had six brothers and I had one, my Brendon Gallacher.
He would hold my hand and take me by the river
where wed talk all about his family being poor.
Hed get his mum out of Glasgow when he got older.
A wee holiday some place nice. Some place far.
Id tell my mum about my Brendon Gallacher.
How his mum drank and his daddy was a cat burglar.
And shed say, Why not have him round to dinner?
No, no, Id say, hes got big holes in his trousers.
I like meeting him by the burn in the open air.
Then one day after wed been friends for two years,
one day when it was pouring and I was indoors,
my mum says to me, I was talking to Mrs Moir
who lives next door to your Brendon Gallacher.
Didnt you say his address was 24 Novar?
She says there are no Gallachers at 24 Novar.
There never have been any Gallachers next door.
And he died then, my Brendon Gallacher,
flat out on my bedroom floor, his spiky hair,
his impish grin, his funny, flapping ear.
Oh Brendon. Oh my Brendon Gallacher.
Compares with
Man and Casehistory:
Alison elegy, loss
and The Hunchback in
the Park power of the
imagination
Targeting C
How is Brendon initially
presented as real?
Students could examine the
range of descriptions to
identify which ones signal
his imaginary status and
which ground him in the
real world.
Targeting A/A*
Possibly Brendons family
are similar to those whom
Kays Communist Party
worker father supports.
Therefore her friendship
with Brendon would seem
to suggest that she is sub-
consciously seeking her
fathers approval.
Is there a suggestion that
Brendon is used as a
means of escape? Does he
represent another type of
world for Kay? Students
might want to consider the
effect of lines 9 and 11 in
particular.

Brendon Gallacher is an elegy for an imaginary friend who, to the narrator of
the poem, represents freedom, excitement and the world of the imagination.
Far from being a fairytale figure, however, Brendon leads a harsh life, with a
mum who drank and a daddy in prison. He has holes in his trousers and
six brothers. Yet despite these bleak realities, he has an exotic, attractive
quality to him: his daddy is a cat burglar. They meet in the open air, as if
Brendon represents freedom and exploration; he talks of Some place far,
new horizons offering excitement.
The sense of coming back to reality and the death of Brendon is initially
foreshadowed on a day when it was pouring. This immediately reminds the
reader of those days when we, as children, were trapped in the house and
longed to be outside. When Brendon dies, so does the young childs ability to
escape into a world of the imagination. Brendons death therefore signifies the
start of growing up and the incursion of the adult world which defines what is
and isnt real: never have been any Gallachers.
There is a childlike quality to this elegy for the death of an imaginary friend.
The persona (presumably the young Kay) uses simple, childish language
and a range of techniques such as direct speech and colloquialisms to
create a natural, informal style which adds to the pathos and mournful tone.
Brendon is portrayed through a mixture of the prosaic and exotic: his life
seems very hard but this appears attractive to the young Kay. Could
Brendon be a manifestation of the families her father works hard to
support? The use of adjectives in the final stanza is a striking contrast to
this: spiky and impish turn Brendon into a figure of the imagination.
The use of a repeated refrain gives a song-like quality to the elegy,
reinforced with the repeated expression of wordless grief in the last lines
interjections: Oh Brendon. Oh my Brendon Gallacher.
Give
Simon Armitage
Simon Armitage (1963) was born in Huddersfield and lives in Marsden, West
Yorkshire. Before becoming a full-time poet, playwright and novelist, he worked as
a probation officer. Give comes from Armitages collection The Dead Sea Poems
(1995); the title is an allusion to the Dead Sea Scrolls.
Some of the poems in this collection deal with issues of belief and human identity.
Although not a religious poem, Give does allude to Christian ideas and possibly
suggests that modern society has abandoned any thought for the less fortunate
and become overtaken by selfish desires for economic gain and trivial
entertainment. The voice in this poem is a homeless person who speaks
directly to the reader, appealing to be noticed and not ignored.
Direct request for
attention/notice rather than
money
Challenges public sense of
embarrassment at being
directly asked for help from
the homeless
Contrast of negative and
positive perceptions of the
state of homelessness
which could also be
ironic/satirical
Ambiguity waiting for or
holding out his hand
Allusion to Christ figure, links
to gold in previous stanza
Irony indictment of the
tendency to try and assuage
guilt with small tokens of help
Ambiguity
exhausted/defeated
or, literally, begging
Consonance of big/beg
stresses his need to beg as
well as highlighting his need
Mode of address links with
the romantic clichs used
throughout make a scene,
Im on my knees possibly
for satirical effect
Second person address,
direct and personal
Change in rhythmic pattern
creates a pause to highlight
the different interpretations
of his situation
Attention-grabbing, dangerous
forms of entertainment. He
is desperate to be noticed.
Is there a link to circus
performance here? Perhaps
also a suggestion that being
asked to perform is
demeaning/degrading?
Ambiguity small change
or change of circumstance
Final emphatic point, again
ambiguous he is literally
begging but also this
suggests a stress on the final
word you. The repetition of
you reinforces this idea.
The romantic clich here is
made literal in this suddenly
plaintive, sincere appeal to
the reader
Repetition of choose/
chosen ironiccontrast with
reality ofhomeless persons
situation,suggesting a control
they dont actually have
See page 267 for
information about the
Dead Sea Scrolls
Give
Of all the public places, dear,
to make a scene, Ive chosen here.
Of all the doorways in the world
to choose to sleep, Ive chosen yours.
Im on the street, under the stars.
For coppers I can dance or sing.
For silver swallow swords, eat fire.
For gold escape from locks and chains.
Its not as if Im holding out
for frankincense or myrrh, just change.
You give me tea. Thats big of you.
Im on my knees. I beg of you.
Compares with
Medusa, The
and Horse Whisperer
isolation and loneliness,
rejection
The Clown Punk and
Singh Song! outsiders
Targeting C
Comment on the purpose
and effect of the second
person address in the
poem.
Explain the effects of
imperatives, particularly
in the title and last line.
Targeting A/A*
Analyse and evaluate
the use of ambiguity,
particularly with regard
to attitudes towards the
homeless.
Explore the effects of
Christian imagery in the
poem.

The persona in Give is a homeless person who speaks directly to an unnamed
you. This use of second person immediately creates a very personal tone, as
if the poem is directly aimed at the reader.
The poem appears ambiguous at first, appearing to accede to the automatic
assumption that this persona, being homeless, will be begging for money
and thus making us feel guilty and uncomfortable. However, it soon becomes
apparent that the speaker is less interested in money than in being noticed.
In fact, he challenges the way the homeless are ignored by choosing to sleep
in the doorway of his listener possibly a metaphor for drawing attention to
himself. The allusion to the Nativity story, with gold, frankincense or myrrh,
suggests a parallel to Christs parents finding themselves homeless and
vulnerable, as well as possibly reminding the reader of the Christian message
to offer help to those less fortunate than ourselves, rather than finding ways to
ignore them.
In the third stanza the persona suggests the range of activities he would do for
money all noticeable, attention-grabbing entertainments which correspond to
some peoples view of the homeless as having no self-respect. This suggests
he is forced to demean himself because of our lack of charity. Rather than
doing anything for money, this stanza uses irony to suggest the exact
opposite. He wants the public to give their time and attention, not just
their change.
The last line contains a direct, personal statement: I beg of you. This is
impossible to ignore, and ends the poem as it started with a direct request.
Simple, direct language and clear rhythm creates a direct and purposeful
tone. This could suggest the personas desire for contact and empathy, for
connection.
The use of the second person also demonstrates a strong desire to connect
and be heard. Possibly Armitage wants the reader to consider their attitude
towards the homeless, particularly the way in which we tend to ignore
those asking us directly for help as we walk past them on the street.
There are several examples of ambiguity in this poem. Armitage uses
colloquialisms to suggest deeper ideas, in particular the line its not as if
Im holding out which has two distinct meanings. He is holding out for
change in this sense a change in perception, not coppers.
GLOSSARY
buttresses
architectural structure used
for reinforcement
castellated decorative
stonework on the top of a
castle turret
bowers womans
bedroom in a medieval
castle
ballast weight used to
stabilise a ship
hurdy-gurdy barrel
organ used by street
musicians, often with a
performing monkey
troubadour writer of
courtly love poetry from
11th to 13th century, mainly
in Southern France and
Northern Italy. They were
travelling poets and
musicians who wooed
ladies of the court with
their music and verse.
Dorothy Molloy (19422004) is a British poet whose work has been described
as dark and disturbing as well as comic. Les Grands Seigneurs is from the
collection Hare Soup (2004). The phrase is French for the great lords although
seigneurs in the plural can also refer to warlord. Molloy often used French
language and settings in her poetry. The voice in this poem muses wistfully on
the stylised, non-physical nature of courtly love, as well as reflecting bitterly on
the contrast between this and the mundane realities of marriage.
See pages 267268 for
more on courtly love
Dorothy Molloy
Possessive pronouns highlight
sense of power
Repetition of phrase using
personal pronouns
intensifies sense of
control and ownership
Implies her complex
attitude towards men
Exotic, beautiful and proud
four examples where the
male of the species is very
demonstrative in courtship
Caesura emphasises her
imaginary power
Passive tense, suggests her
husband has taken her power
Contrasts with played of
previous stanza
Ambiguity a command or
the gesture of a hypnotist
A harsher form of playing,
referring to the unreality of
what went before
Suggests innocence, unreality
Connective used to signify
change of tone
Parenthesis highlights
the shock when the
consummation of the wedding
night takes away the mystery
She is reduced to derogatory
colloquialism, a flimsy object
her husband is listing /
defining her whereas before
she was defining others
Men were my buttresses, my castellated towers,
the bowers where I took my rest. The best and worst
of times were men: the peacocks and the cockatoos,
the nightingales, the strutting pink flamingos.
Men were my dolphins, my performing seals; my sailing-ships,
the ballast in my hold. They were the rocking-horses
prancing down the promenade, the bandstand
where the music played. My hurdy-gurdy monkey-men.
I was their queen. I sat enthroned before them,
out of reach. We played at courtly love:
the troubadour, the damsel and the peach.
But after I was wedded, bedded, I became
(yes, overnight) a toy, a plaything, little woman,
wife, a bit of fluff. My husband clicked
his fingers, called my bluff.
Compares with
Medusa and My Last
Duchess relationships
The Ruined Maid
change, identity
Brendon Gallacher
power of the imagination
Targeting C
What is the effect of the
lines the best and worst /
of times were men? Ask
students to find conflicting
presentations of men in the
first three stanzas.
Targeting A/A*
Is there a darker, more
subtle implication to the
final stanza? Students
could consider the effect
of the use of a list in this
stanza. What might be
being suggested about
control and dominance
from my husband clicked /
his fingers?

Molloys first person persona is a woman reflecting on her changing attitude
towards, and relationship with, men. In the first three stanzas she presents a
variety of images of men: they are the romantic heroes of medieval courtly
love, the stable influence and grounding security of ballast, the arrogant
and strutting flamingos, the ridiculous monkey men, and the beautiful
peacocks. These conflicting images suggest an innocence and ignorance
of men, as well as implying that this world of the imagination provides an
exciting, dramatic and beautiful mirage one that is at the same time rather
immature and childish. The first three stanzas also suggest her ability to
control and sport with men in this context because they desire her, she
has power over them.
Molloy suggests that the anticipation and expectation of marriage is often
better than the reality; in her naivety, the woman imagines herself in control,
indomitable, and most importantly untouchable. She is their queen,
but out of reach. Her romantic idealism is not yet sullied by the reality of
married life.
In the final stanza, after her marriage and, more significantly, her wedding
night she awakens to the reality of a relationship which proves a striking
contrast. She is no longer the one in control, and has instead become her
husbands plaything, dominated by his click of a finger. This stanza
demonstrates the role reversal as the woman finds her own imagery of
play used against her, this time in a demeaning way. She is now the toy,
a plaything.
Although Molloy can be seen as presenting a negative portrayal of the role
of women in married life, another interpretation could be that this poem is a
critique of the tendency to foster an idealised, romanticised view of marriage.
The semantic fields courtly love, exotic birds, seafaring and
seaside/fairgrounds suggest an idealised, innocent, fairytale world.
Imagery and the language of playing are used to suggest that in the
idealised world, men were her toys, there for fun and enjoyment (we
played, the music played, performing seals). However, when married,
she becomes a toy, a plaything. Her own imagery, when used against her,
becomes derogatory and controlling.
Language is used to create a fairytale fantastical tone in the first three
stanzas, contrasting shockingly with the short phrases and simple language
of the final stanza.
Form is used to stress the way her life is diminished after marriage the
line length is contracted in the final stanza, in contrast with the way the
longer lines exemplifiy her extravagant imagination in the previous stanza.
Ozymandias
Percy Bysshe Shelley
Percy Bysshe Shelley (17921822) was a Romantic poet known for his radical
views, most notably his atheism and condemnation of tyranny, including in
his view monarchical rule. He was a fierce advocate of the French Revolution.
Shelleys willingness to challenge the accepted order of things and ally himself
with those who questioned the inviolability of inherited power, meant that he
was often used as a symbol of radical rebellion. As a member of the Romantic
movement, a common theme in his work is the tendency for art and literature to
outlast and therefore conquer transitory power; a proponent perhaps of the
pen is mightier than the sword.
Ozymandias is the ancient Greek name for Rameses II, probably the best known
and most powerful of the Egyptian pharaohs, who was responsible for an
enormous amount of building works, including temples, monuments and cities.
Shelleys Ozymandias, published in 1818, is thought to have been inspired by
the 1816 British Museum exhibition of Egyptian artefacts, which included the
enormous statue of the head of Rameses II.
See pages 267268 for
more about the
Romantics and
Ozymandias
Size of statue linked to size of
his ambition for greatness and
everlasting glory
Praises the art of the sculptor
It is the art that yet survives
rather than Ozymandias
works
Use of synecdoche to
represent the sculptor and
possibly all artists who have
the power to mock even the
most powerful of leaders
Dichotomy again between two
images vast but destroyed
Ironic comment there is
nothing there to look on
Adjectives set up dichotomy
between power and weakness
Paradox stones are lifeless
but give life to passion by
recreating it
The ability of art to recreate
passions from lifeless
mediums
imitated but also subtly
ironic, meaning ridiculed/
scorned
Caesura highlights the
nothing surrounding the
broken statue. Bathos proud
words are undercut by the
reality of his legacy: nothing
Again, emphasising contrast
between then and now
Ozymandias
I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shatterd visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stampd on these lifeless things,
The hand that mockd them and the heart that fed;
And on the pedestal these words appear:
My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.
Compares with
Checking Out Me
History historical figures,
learning from history
Horse Whisperer the
passing of time and the
waning of power
My Last Duchess and
The River God
arrogance and the corruption
of power
Targeting C
Why do you think Shelley
presents a picture without
appearing to be making
any overt comment? Ask
students to consider the
effect on the reader of this
use of perspective.
Targeting A/A*
How does Shelley make
his views on the nature
of power apparent?
What does this poem
suggest about Shelleys
political beliefs?

The illusory, temporary nature of power is the main theme of this poem.
Shelley uses the voice of the king himself to ironically mock the arrogant
character of a man who believed he was closer to a god and therefore had
limitless power and permanence. Irony is used throughout the poem to
highlight the discrepancy between Ozymandias assertions and the reality of
the picture of ruin and decay we see in front of us: the once-great Rameses
is shattered, half-sunk and isolated in the desert that was once the site of
a great civilisation of his own creation. The narrator and the traveller remain
impartial, allowing the reader to draw their own conclusions from the irony of
the image being depicted.
Shelley highlights the words of the king in order to emphasise the main theme
of the poem, which is that pride comes before a fall. Ozymandias believes
that the Mighty would despair of ever hoping to compete with his glory and
success. The irony is that these words only survive because of the skill of a
sculptor, suggesting that art, beauty and truth outlast power, arrogance and
greed. It is the sculptors skill which is praised his statue is the only thing
remaining in the barren desert.
Anonymous voices are used in the poem to create a tone of ironic
detachment.
The use of the plaque is of course hugely ironic, in that the message
Ozymandias wanted to leave as his legacy to the world is precisely opposite
to the message the world receives. The despair may be more as a result
of the realisation that power is illusory and temporary, rather than despair
that nobody could ever hope to compete with Ozymandias glory.
Alliteration is used to highlight the barrenness of the landscape which
Ozymandias wants us to look on in the phrases boundless and bare,
lone and level and sands stretch.
Form and rhyme scheme: although the poem is a sonnet with 14 lines of
iambic pentameter, it does not stick closely to the form. The rhyme scheme
particularly does not follow established patterns, possibly linking with
Shelleys nonconformist desire to rebel against perceived restrictions or
conventions.
Exploring the Poem
Ferrara indicates this is a dramatic form the stage direction shows us who
is speaking
Stanza 1
1 painted on the wall fresco
3 now she is now under his control so he is prepared to appreciate her
9-10 at last he is in complete control
11 durst suggests he knows he is feared by many
13-15 intimates that she was unfaithful
21 repetition of joy, as if the expression on her face angers him
25-29 she is shown to be carefree and joyful, taking delight in simple pleasures
33 power and status are an all-consuming passion for him
35-40 implies his inability (or reluctance) to communicate his concern to his wife
39 the mark suggests he has a benchmark against which to measure her
43-44 he believes expression of feeling to be a sign of weakness
43 third repetition of stoop suggests that the idea is clearly very distasteful
to him
46 macabre euphemism for murder, marked with a caesura to indicate the
end of The Duchess life
47-48 prefers to admire her as a work of art, completely lifeless and, therefore,
under his total control
My Last Duchess
Robert Browning
Robert Browning (18121889) was a master of the dramatic monologue, a form
using a persona who speaks directly to an imagined listener, thereby dramatising
the speakers words and allowing us to judge the personas character. My Last
Duchess (1842) is based on real figures: the Duchess is thought to be the first
wife of the Duke of Ferrara, who died three years into their marriage. Browning
was a great admirer of the works of Shelley, and this poem displays a similar
critique of autocratic rule in this case the nobility of the Italian Renaissance.
GLOSSARY
by design on
purpose
Fr Pandolf
imaginary painter,
possibly referring to
Titian. Fr means
Franciscan friar.
favour gift, in this
case probably a brooch
See page 6 for a
definition of dramatic
monologue
Compares with
Ozymandias and The
River God power and
corruption
The River God,
Medusa and Horse
Whisperer dramatic
monologues
Targeting C
What is the effect of using
a dramatic monologue to
present the character of
the Duke? Ask students to
consider the effect of only
having one point of view
on our perception of this
character.
Targeting A/A*
Consider the use of irony,
oblique references and
ambiguity in the Dukes
speech, and how they
impact on our perception
of his character.

The poem is heavily ironic. The Duke expects his listener to condone his
treatment of his first wife, whereas instead we see a cold-hearted, controlling
monster. Although the poem appears to be about the literal portrait of the
Duchess, what emerges is a dark portrait of her husband.
His description of his wife presents a completely different woman from the
one he intends us to see in reality, she is clearly gentle, full of joy and alive
to the beauty of the natural world. (The real Duchess, Lucrezia, was a great
patron of the arts during her marriage, which may explain Brownings desire
to portray her with such sympathy.)
The corruption and abuse of power is directly criticised through this portrayal
of a self-aggrandising and virtually omnipotent member of the nobility. A
common view of the Renaissance in Victorian times was that it was an era
of great corruption, particularly amongst the nobility.
The dramatic monologue form allows Browning to use the Dukes words
to paint a portrait of a jealous, arrogant and selfish man. The clinical,
dispassionate manner with which the Duke recounts his story creates
a chilling tone.
Browning uses heroic couplets (rhyming pairs of iambic pentameter lines
used particularly in epic or narrative poetry). Even though the Duke claims
with false modesty that he has no skill in speech, he delivers a fluent,
articulate account of himself. The lines have no end-stops, therefore pauses
are created mid-line, drawing attention to particular ideas and phrases,
such as then all smiles stopped altogether.
The sculpture of Neptune is a metaphor for the Dukes arrogant self-
perception; the sea horse is the wife he wishes to be tamed.
49-51 it becomes apparent that the Duke is speaking directly to another
character and we find out he plans to marry again, probably for money
53 my object an ironic and sinister suggestion that he wants to turn his
next wife into an artefact just like the last one
55-56 metaphor for his own attitudes towards relationships suggesting his
admiration for the ability to dominate and control, as well as his
supreme arrogance
57 final word me draws attention once again to his total self-obsession
The River God
Stevie Smith
Stevie Smith (19021971) was born in Hull but moved to London as a young
child. Her poetry often deals with issues of religion, war, loneliness and death.
Mythology is often referred to in her poems, as is the relationship between
humans and the natural world.
River gods abound in the mythology of a variety of cultures, including ancient
Greece and China. The River God is based on the River Mimram in Herefordshire.
Personal pronoun to introduce
theme of self-absorption
Shows control and ownership
of his world
Lack of empathy and respect
for human life
Does this display a completely
amoral stance?
Complete contrast of tone with
previous couplet emphasises
his lack of empathy
Sense of cause and effect, as
if to justify his actions by
blaming the woman for not
following his rules
Sinister suggestion that her
face is being eroded
Shortened form of previous
chant is his power failing?
Is he less enthusiastic?
Enjambment places stress on
the word go to emphasise
his fear and insecurity
Rhyme scheme here encircles
the captured woman
Argumentative / defensive
tone. Self-deprecation
suggests false humility
Light-hearted rhyme
contrasts with a sinister,
seedy undertone
Whose rules? Has he created
his own set of rules and laws
which allow him to abuse his
power?
Sinister juxtaposition of
ideas: drowning/clowning
Light-hearted colloquialisms
contrast with sinister actions
Introduces note of insecurity
This line emphasises ruthless
lack of empathy and equates
him with the gods of Greek
mythology: remorseless,
selfish and vengeful.
Use of full rhyme
suggests his obsession
The River God
I may be smelly and I may be old,
Rough in my pebbles, reedy in my pools,
But where my fish float by I bless their swimming
And I like the people to bathe in me, especially women.
But I can drown the fools
Who bathe too close to the weir, contrary to rules.
And they take a long time drowning
As I throw them up now and then in the spirit of clowning.
Hi yih, yippity-yap, merrily I flow,
O I may be an old foul river but I have plenty of go.
Once there was a lady who was too bold
She bathed in me by the tall black cliff where the water runs cold,
So I brought her down here
To be my beautiful dear.
Oh will she stay with me will she stay
This beautiful lady, or will she go away?
She lies in my beautiful deep river bed with many a weed
To hold her, and many a waving reed.
Oh who would guess what a beautiful white face lies there
Waiting for me to smooth and wash away the fear
She looks at me with. Hi yih, do not let her
Go. There is no one on earth who does not forget her
Now. They say I am a foolish old smelly river
But they do not know of my wide original bed
Where the lady waits, with her golden sleepy head.
If she wishes to go I will not forgive her.
Compares with
Ozymandias arrogance,
power and isolation
Medusa revenge, power
and isolation
Targeting C
How does the poet use
form and structure to
express some of the key
ideas in the poem?
Targeting A/A*
Is the tone of the poem
significant? Notice how
the opening lines appear to
take some sort of defensive
position, repeated again
in line 10. Are there other
places where the persona
appears to be justifying/
defending his actions?
How detached is he from
others?

Smith uses a free verse dramatic monologue to explore the voice of a river
a natural force given emotional resonance by displaying human feelings of
love, possessiveness, insecurity, jealousy and revenge. Perhaps there is a
suggestion that the natural world has a darker, more mysterious side that must
not be underestimated. Or maybe Smith is using some of the characteristics
of the vengeful gods of ancient mythology to explore some negative human
characteristics. Ancient gods often interfered with human affairs and emotions
and some stories recount tales of Greek male gods seducing, raping and
carrying off human women, for example Poseidon and Tyro, or Hades and
Persephone. The character of the River God is displayed, as often in dramatic
monologues, far more prominently than the persona perhaps realises.
Initially the River God is portrayed as an isolated, lonely figure who inhabits his
own world with its own rules. These rules seem to have no resemblance to
those of the human world he punishes at will those who bathe too close
to the weir, for instance. We are unsettled by his evident enjoyment of this
punishment as well as by his complete lack of remorse. He appears to need
to display his power and ownership of his domain as well as a rather seedy,
disreputable attitude towards women. This is where his weakness is betrayed:
when he punishes a lady for reckless swimming by drowning her and taking
her body to be his companion, his evident need to maintain hold of her
highlights his insecurity and loneliness. His possessive love for her creates
the sinister undertone of malice that ends the poem. Perhaps Smith suggests
that even a god can be made weak and foolish by love.
Structure the unmetrical form uses enjambment throughout to
emphasise key ideas. The form could represent the uninterrupted flow
and natural shape of a river.
The rhyme scheme appears to be rhyming couplets although this is
deceptive, possibly like the surface appearance of the river.
Dramatic monologue form relies heavily on the use of personal pronouns
to suggest the self-obsession or possibly isolation and loneliness of
the River God. No other perspective is allowed.
Contrast is used with both language and content to create an uneasy,
unsettled mood. Negative, sinister language such as dark, black and
drowning contrasts with merrily and clowning. A description of
drowning the fools contrasts with the deeply insecure and heartfelt
interjection, Oh will she stay? Contrasting words often rhyme: for instance
the rhyme of clowning and drowning is particularly jarring and suggests
the River Gods warped perspective and humour.
Exploring the Poem
Stanza 1
2 shortest line highlights the isolation of the hunchback; mister identifies
the young boy narrator as the voice of the poem
5 suggests that the park only exists when it is open
6 first mention of bell links to idea of Quasimodo
Stanza 2
12 use of one of only three full stops, highlighting the idea that the hunchback
is only restricted physically, not mentally
Stanza 3
13 similes (like the park birds and like the water) highlight the strength of
the mans connection with the park and the natural world
16 truant boys implies that the narrator is made uneasy by these boys
they are dangerous, threatening, different
Stanza 5
25 metaphor compares the hunchback to a dog, linking with chains and
kennel
28 metaphorical description of the strength of the childrens imagination
29 roar gives a hint of the potential threat/danger posed by the truant boys
Stanza 6
3136 the hunchback is similarly able to enter an imaginary world
3334 repetition of straight contrasts with his hunchback, symbolising the
power of the imagination to create an alternative, better reality
Stanza 7
37 unmade returns to the idea that the park is non-existent when
unpopulated
40 contrasts the boys threat with their ultimate innocence
Dylan Thomas (19141953) was born in Swansea, South Wales. The Hunchback in
the Park is set in a small park near his home there, where he has spoken about the
many hours he spent playing as a child, creating fantasy worlds and existing, like
many other children, in that world of the imagination. The Hunchback in the Park
was first published in Collected Poems 193452.
The Hunchback in the Park
Dylan Thomas
Compares with
The Clown Punk and
Give outsiders
Brendon Gallacher and
the world of the imagination
Targeting C
Comment on the use of
simile and metaphor to
portray the boys and the
hunchback. What do these
similes and metaphors
add to our understanding
of both?
Targeting A/A*
How are the senses used
in the poem to draw the
reader into the world being
described? Students may
find it useful to analyse the
effects of sounds in the
poem, in particular the
noises made by the
children and the bells.

The theme of isolation is explored in this portrayal of an outsider to society,
who is viewed with a mixture of mockery and pathos. Thomas presents three
points of view: the narrator (presumably the young Thomas), the truant boys
who taunt the hunchback, and the hunchback himself. The voice is the voice
of the young Thomas, the character on one level the hunchback. However,
this may be an over-simplification of such a complex poem; the narrator
demonstrates his own character through his observations of both the
hunchback and the truant boys.
The park is a place where the world of the imagination is allowed to run free, in
direct contrast with the repeated images of locks, chains and sticks. There
is a recurring concept of contrasts and opposites: the boys are at once wild
and innocent; the hunchback creates a perfect image of a woman straight
as a young elm; the park may be controlled to a certain extent by locks and
chains but is ultimately as free as the birds the grass the trees the lake. In
spite of the vast differences between the hunchback and the boys, there is
a suggestion that the park offers them all the same opportunity to use their
imaginations to create a world more exciting and more fitting to their inner
desires. The boys crave escape with their truancy as much as the hunchback
craves freedom from the chains of his physical disability and loveless life.
The young boy narrator comments both as omniscient narrator and as
participant. However, he appears unable to join in fully: he sail[s] his ship
alone, rather than entering his own imaginary world or playing with the other
boys. Possibly the narrator is as isolated as the hunchback by youth or social
class. He appears vaguely disconcerted by these boys, referring to them as
truant boys from the town who can roar and act like tigers. They are
rebellious, dangerous figures, unfettered and unpredictable. Thomas has in
fact spoken of lying in bed as a young child listening to the older boys still
playing in the park, and perhaps the young figure in the poem is a
manifestation of that remembered sense of exclusion from these games.
Imagery, is used to connect the boys and the hunchback to the natural
landscape. Metaphor in particular plays a key role, strengthening and
populating the imaginary world of both the boys with their loud zoo of
tigers and the hunchbacks woman figure without fault.
Punctuation the poem uses three full stops, all of which link to the idea of
rules, chains and endings. The lack of punctuation in line 39 suggests the
power of the imagination running free.
A tone of melancholy is created through the use of bells which not only link
to the idea of Quasimodo but also the end of play (until bell time) and
church bells (Sunday sombre bell at dark).
The Ruined Maid
Thomas Hardy
Thomas Hardy (18401928) often focused in his poetry on themes familiar in his
novels, using the imagined landscape of rural Wessex (based on his home county
of Dorset) as his setting. The Ruined Maid, although first published ten years
after first publication of Tess of the DUrbervilles, demonstrates a similar concern
with the difficulties faced by young rural women who seek to better themselves
in a strictly hierarchical, male-dominated society.
As a staunch social reformer and advocate of the rural working class, Hardy
reveals in this poem a concern about the often unjust constraints of Victorian
morality, a common thematic thread in his work. Written in 1866 and published
in 1901 in the collection Poems of the Past and Present, the poem is a dramatic
duologue which reveals Melias story through a conversation between two
characters Melia and her former friend. This poem is an ironic commentary
on the limited opportunities for country girls to improve their circumstances in
the nineteenth century.
GLOSSARY
barton barn/farmyard
megrims migraines
or headaches
spudding up
docks digging up
weeds
Matter-of-fact tone
Friend notices trivial, surface
appearances
Speaks in a more formal way
use of impersonal pronoun
Friend uses lots of
dialect and
colloquialisms
Use of inclusive
pronoun perhaps
she wishes to
identify with a
bigger group
Contrast with paws
to highlight her
refinement
Tone of surprise
suggests Melias
ruin is common
knowledge
The Ruined Maid
O Melia, my dear, this does everything crown!
Who could have supposed I should meet you in Town?
And whence such fair garments, such prosperi-ty?
O didnt you know Id been ruined? said she.
You left us in tatters, without shoes or socks,
Tired of digging potatoes, and spudding up docks;
And now youve gay bracelets and bright feathers three!
Yes: thats how we dress when were ruined, said she.
At home in the barton you said thee and thou,
And thik oon, and theas oon, and tother; but now
Your talking quite fits ee for high compa-ny!
Some polish is gained with ones ruin, said she.
Your hands were like paws then, your face blue and bleak
But now Im bewitched by your delicate cheek,
And your little gloves fit as on any la-dy!
We never do work when were ruined, said she.
You used to call home-life a hag-ridden dream,
And youd sigh, and youd sock; but at present you seem
To know not of megrims or melancho-ly!
True. Ones pretty lively when ruined, said she.
Compares with
Medusa, Les Grands
Seigneurs and My Last
Duchess role and
treatment of women, strong
female voices
Targeting C
How does Hardy present
the reader with two distinct
pictures of Melia before
and after her ruin?
How does Hardy highlight
the differences between
the two women? Students
might consider the use of
dialect as well as their
behaviour towards each
other.
Targeting A/A*
How does Hardys portrayal
of these women reflect the
social position or status of
women at that time,
especially those living in
rural communities?
Explore how Hardy creates
a satirical tone through
implied criticism on both
sides of this dramatic
duologue.

There are two voices at work here that of Melia and her friend. Although
one appears to have more voice than the other, it is Melias presence which
is felt more strongly throughout the poem, and Melia who is the character
focus. This poem is a dramatic duologue a conversation between two
imaginary characters, often heavily ironic.
Hardy reveals what has happened to Melia through a conversation between
her and an erstwhile fellow farm-girl. The friend has the majority of the lines
in the exchange, and it is through her observations of Melias changed
appearance and demeanour that the reality of her ruin becomes apparent.
She has perhaps chosen to use her sexuality as a means of climbing a very
flimsy social ladder one which allows her to appear a lady, although the
change is eventually shown to be a facade.
While the friend seems very taken with the surface prosperity exhibited by
Melias bright feathers, refined speech and cheerful demeanour, there is a
possible undercurrent of envy or even censure to her observation, particularly
evident in the insulting observations she makes about Melias past
appearance and behaviour. She compares this Melia to the girl she knew as a
farm-girl, with obvious disbelief. The poem is heavily ironic: Melias ruin has
clearly at least on the surface been the making of her. However, her roots
are still strongly held by the Dorset earth she came from, exhibited by her
apparent slip into dialect in her final line.
Rhythm and rhyme: the satirical tone is reinforced through a strong rhythm
and strict AABB rhyme scheme. Repetition of Melias refrain adds to the
sing-song tone, although the constant reinforcement of ruin becomes
ironic quite quickly, undercutting each of her friends nave observations.
Line length: the relative brevity of Melias lines compared with the
friends suggests an indifference or tone of laconic detachment from the
conversation, possibly allowing her appearance to do most of the talking.
At the end of the poem Melia speaks out more emphatically with her only
couplet.
Dialect: the friend speaks in Dorset dialect throughout, compared with
Melias formal standard English, broken significantly at the end with the
words aint and you be. This may suggest a slip of the tongue betraying
original roots, or possibly a deliberate reclamation of her true self and
refusal to be ashamed.
Suggests friend thinks Melia
is arrogant
Caesura breaks the expected
flow of a final couplet,
suggesting a lack of self-
assurance underneath the
facade
Ironically suggests
connection whilst attempting
to highlight the distance
between them
Full stop creates caesura,
emphasising the final point
Use of dialect displays her
roots as well as breaking the
strict rhythm to stress aint Repetition of phrase creates an
emphatic tone to highlight Melias
consistent lack of remorse
I wish I had feathers, a fine sweeping gown,
And a delicate face, and could strut about Town!
My dear a raw country girl, such as you be,
Cannot quite expect that. You aint ruined, said she.
Exploring the Poem
Stanza 1
2 plays with her sense of identity, as if presenting a riddle
3 refers to herself in the third person, introducing a distinction between I
and she
Stanza 2
4 comforting suggests emotional/physical pain
6 autocratic suggests power, and contrasts with lugs in the next stanza
Stanza 3
7 use of enjambment highlights grace and fluidity of the remembered
movement
9 enjambment between lines 9 and 10 creates the opposite effect,
highlighting the difference between then and now, foreshadowing in the
first line what will happen in the next
Stanza 5
11 third repetition of smiles as if fascinated by the expression
1415 sense of envy perhaps due to her injury she lives with the pain of
mourning constantly, never being able to complete the grieving process
Stanza 6
17 links with the homophone mourning suggesting a connection as well as
a separateness and perhaps her difficulty in processing language
18 terrible dichotomy presented here, adding to the pathos of her situation
Stanza 9
25 oxymoron intensifies the pathos of her former selfs ignorance of what the
future has in store
28 repetition of past tense line intensifies the sense of loss
U. A. Fanthorpe (19292009) was an English teacher for many years before
changing her career to work in a neuropsychiatric ward of a hospital in Bristol.
It was here that she also began to write the poetry for which she achieved huge
critical acclaim. Casehistory: Alison (head injury) is from Side Effects, her first
poetry collection published in 1978, and is part of a pair the other part being
Casehistory: Julie (encephalitis).
The voice in this poem is that of a patient who is struggling to come to terms with
her loss of memory and reconcile herself with the other, younger self portrayed
in a photograph.
GLOSSARY
Degas a French
Impressionist artist, who
often painted ballet
dancers
Casehistory: Alison (head injury)
U. A. Fanthorpe
Compares with
Medusa dramatic
monologues, change
The Clown Punk and
Checking Out me
History sense of personal
identity
Brendon Gallacher
loss
Targeting C
What is the difference
between the speaker of the
poem and the person she
describes looking at in the
photograph? Ask students
to compare the two
different versions of Alison
presented in the poem.
Targeting A/A*
How does the writer create
a sense of pathos as well
as possibly envy in the
poem? Students could
consider the different
moods and tones being
suggested.

Fanthorpe uses a dramatic monologue to explore the effects of memory loss
and how it affects our sense of personal identity. There is a tone of regret and
pathos as Alison mixes personal pronouns (I/she), demonstrating her confusion
and sense of loss at the growing separateness of her two selves. The title of
the poem symbolises how humans can be reduced to a series of facts and
statistics in medical treatment; Fanthorpe delves beyond the cursory head
injury to attempt to give a voice to the woman behind this case history.
The sense of pathos and loss comes not only from Alisons struggle with her
identity but also the picture painted of the girl before her accident. Without
sentimentality, Alison reveals that her younger self had enormous potential
a future which has been lost alongside her holistic sense of who she is.
The penultimate line draws attention to this change in fortune: I am her
future. The final line is strongly foregrounded, drawing ironic attention to
the contrast between the promise of a bright future and the reality.
Balanced and regular structure the poem is organised into tercets,
creating a tone of quiet consideration as well as gentle mourning and
regret. The second line in each stanza is lengthened, which draws the eye,
highlighting the focus on the past life of Alison and suggesting that the pre-
accident self was far more interesting and worthy of notice. The final line
stands alone as a repeated reminder of what has been lost.
Enjambment is used throughout the poem to link past to present, often
presenting a jarring contrast and highlighting the struggle to hold on to
memory.
Contrasts and contradictions highlight the difference between past and
present, then and now fat / delicate, airy / lugs, knows / do not
remember and creates a subtle sense of irony and loss.
John Betjeman (19061984) was born and raised near Highgate in London,
a place mentioned in this poem. A prolific writer, he became Poet Laureate in
1974. The recurrent themes of his work are nature, death and religion. As an
agnostic, he became increasingly disaffected with the idea of organised religion
and often explored this in his poetry. On a Portrait of a Deaf Man (1940) was
published shortly after the death of Betjemans father, so is often assumed to be
an elegy, although it has been suggested that the poem might in fact be a third
person self-portrait.
GLOSSARY
Carrara a type of
Italian marble, used in
this context to refer to
gravestones
On a Portrait of a Deaf Man
John Betjeman
Oxymoron introduces the idea
of contrast and contradictions
Undercuts / contrasts with
previous line, intensifying the
division between then and
now. This pattern is repeated
in subsequent stanzas
Signifies change to present
tense
Reminder that he is deaf
Change of tense to past
conditional contrasts with
matter-of-fact tone used
elsewhere
Harsh, gruesome image
presents the finality of death
Introduces the idea of death
Unassuming, unpretentious
Grotesque image comes as a
shock after nostalgic, fond
memories of his father
Understatement; links
himself to his father
through the word like
Repetition of liked increases
the sense of this man as kind
and gentle
On a Portrait of a Deaf Man
The kind old face, the egg-shaped head,
The tie, discreetly loud,
The loosely fitting shooting clothes,
A closely fitting shroud.
He liked old City dining-rooms,
Potatoes in their skin,
But now his mouth is wide to let
The London clay come in.
He took me on long silent walks
In country lanes when young,
He knew the names of evry bird
But not the song it sung.
And when he could not hear me speak
He smiled and looked so wise
That now I do not like to think
Of maggots in his eyes.
He liked the rain-washed Cornish air
And smell of ploughed-up soil,
He liked a landscape big and bare
And painted it in oil.
But least of all he liked that place
Which hangs on Highgate Hill
Of soaked Carrara-covered earth
For Londoners to fill.
He would have liked to say good-bye,
Shake hands with many friends,
In Highgate now his finger-bones
Stick through his finger-ends.
Compares with
The Clown Punk and
Casehistory: Alison
perceptions of others
Targeting C
How does Browning use
descriptive detail and
images to present a
portrait of this man?
Students could examine
what is demonstrated
about his character from
the descriptions of what he
liked and how he
behaved.
Targeting A/A*
Examine the ways in which
irony is used, in particular
the contrast between form
and meaning.

Betjeman uses a ballad metre in this elegy, lending the portrait a narrative
quality. The jaunty metre and rhyme scheme jars somewhat with the content
and theme, which is a bitterly ironic commentary on the arbitrary, careless way
in which the God of this poem has reduced the man to decay. The contrast
between tone and content provides one of many contrasts and contradictions
that link to the main theme the bleak contrast between life and death.
Betjeman paints a past tense picture of the uncomplicated, unpretentious life
of this man: his love of simple pleasures, his creative abilities and his passion
for the natural world. Throughout the poem these are contrasted sharply with
present tense reminders of his body decaying in London clay. These images
speak for themselves, allowing the poets disillusionment to surface obliquely.
The final stanza is a harsh rejection of the Christian message: Betjeman
expresses his lack of credulity with the idea of life after death, ending
his poem with the finality of decay.
Matter-of-fact tone created through ballad metre and repeated structure
of then/now. The contrast between tone and theme creates a striking
contradiction, reinforcing the harsh juxtapositions of life and grotesque
decay in the content of the poem: the smell of ploughed-up soil is
contrasted with Carrara-covered earth, Potatoes with London clay,
shaking hands with finger bones. These contrasting images consistently
remind the reader that this body is now decaying under the ground.
The repeated juxtaposition of past and present further reinforces the
conflict being explored, as the poet attempts to come to terms with the
finality of death.
The straightforward use of full rhyme throughout the poem enables the
poet to contrast surface tone with content/meaning. On another level the
rhymes themselves sometimes undercut their predecessor, creating a
jarring effect: loud/shroud, pray/decay.
Uncomplicated, straightforward language is used to create a picture of
gentle benevolence: kind, smiled, wise and friends. The repetition
of liked also suggests that the man in the poem was a simple man,
inoffensive and undeserving of the indignity of his end.
Audience made specific in the
final stanza, which is directed
at the God with whom he is
so disillusioned
The arbitrary nature of death
Last word highlights main
theme of the poem
You, God, who treat him thus and thus,
Say Save his soul and pray.
You ask me to believe You and
I only see decay.
Character and Voice
Comparison Grid
B
r
e
n
d
o
n

G
a
l
l
a
c
h
e
r
C
a
s
e
h
i
s
t
o
r
y
:

A
l
i
s
o
n
C
h
e
c
k
i
n
g

O
u
t

M
e

H
i
s
t
o
r
y
(
h
e
a
d

i
n
u
r
y
)
T
h
e

C
l
o
w
n

P
u
n
k
G
i
v
e
L
e
s

G
r
a
n
d
s

S
e
i
g
n
e
u
r
s
H
o
r
s
e

W
h
i
s
p
e
r
e
r
T
h
e

H
u
n
c
h
b
a
c
k

i
n

t
h
e

P
a
r
k
M
e
d
u
s
a
M
y

L
a
s
t

D
u
c
h
e
s
s
O
n

a

P
o
r
t
r
a
i
t

o
f

a

D
e
a
f

M
a
n
O
z
y
m
a
n
d
i
a
s
T
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R
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v
e
r

G
o
d
T
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R
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i
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e
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M
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S
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S
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!
D
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HarperCollins Publishers 2010 Cluster 1: Character and Voice 29

Themes and Ideas (AO1)

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