Theme:
The poem talks about rebellion, and cynicism, a young person's attempt to break free and express their opinions within the classroom.
Content:
The poem is about the daily routine of young student in the classroom, who's rebelling against what they've been taught at school.
Analysis:
The title of the poem, is the shape of the infinity sign, going round in circles and showing the cyclical nature of life. The life of the persona is a routine and repetitive, like the motion of the infinity sign, and feels like that their life is revolving around education. A figure of 8 could mean that the persona, a figure, is 8 years old.
The persona refers to his classroom as 'Mr Theophilus's jail', suggesting that the classroom is restrictive and confined like a prison. They can't escape, and feel trapped, unable to express their opinion and can only listen and do what they're told, having to be taught not learning things for themselves. 'The boy half listens to a story of royalty-loving Christopher Robin'. This is a reference to Winnie the Pooh, showing the persona's young age to this children's book. The teacher is teaching the students about stories, innocent and patriotic things that don't relate to the reality outside the classroom. The persona also 'half-listens' implying he's bored, doesn't care and is distracted, maybe daydreaming about something else. His mind works independently, no matter what the teacher tries to tell him. Abse makes the tone comical by 'his friend, Fatty Jones', a childish nickname for a classmate. Fatty Jones sings 'God bless the Prince of Wales!', a Welsh hymn.
The second stanza talks about escaping from school, 'free, at last', from the mundane, repetitive classroom. This exaggerates how happy the persona is to get away, 'arms horizontal'. The child is so cheerful and excited he 'jet-roars out' like a plane, escaping 'jail'. Flying away shows a liberation, lack of restriction and freedom to do anything as the persona 'loops the loop, flies to Africa to see naked women'. This shows the child is fantasising about adult themes, inappropriate for his age, and thinks about things that are avoided at school. He thinks independently and is growing up. However this view is shifted by to the persona's immaturity when he comically 'farts H2SS'.
The third stanza is a contrast to the childlike first stanza, a more depressing and realistic view of the world. This stanza is short and dramatic, 'someone has bombed the park'. The child could be playing war games, and this makes the persona sinister to think these things, a vivid imagination to have. However this could show that the child is growing up, and not so naivety towards the bad events, the ones teachers avoid to tell children and instead tell fairytale stories. This idea is continued in stanza four, 'both the swings are on fire, the empty see-saw is charred', destruction to playground objects that children would use. This is implies that his childish views are being burnt down, and reality is overcoming his thoughts. 'The enemy is a brute, the enemy must be foiled', threats of war and violence, which are quite childish, playing games where the bad guys can just be beaten. 'The wooden horses are running wild' is like the persona's self, running wild and hard to control because he's finding freedom.
The persona mentions a 'sorcerer' and 'spaceship', all imagined childish thoughts. But the persona comes 'safely... comes home to base'. Home suggests protection and safety, a secure place for a child compared to the outside world.
The last stanza involves the persona chalking 'across the garden shed FUCK WINNIE THE POOH'. Symbolising rebellion and a hatred towards the things he's been taught, the ideals of society and the false stories he hears in the classroom. The child is fed up with hearing untruths, 'FUCK MR THEOPHILUS TOO', and doesn't like education. The last stanza is comical to how people will try to teach children and form a path for them but they can't be taught and protected forever, that they instead break free.
Links to Larkin:
A Study of Reading Habits - rebellion, dislike to childish stories
Sunny Prestatyn - graffiti and rebellion
Monday, 21 April 2014
Sons
Theme:
The poem is about the relationship between father and son, and is highlighted with themes of growing up, youth, time and memories.
Content:
In this poem the persona looks back on his youth but compared himself to his son and his younger self. The similarities between himself and his son make him remember his young self.
Analysis:
The first line of the poem uses alliteration and sibilance, 'sarcastic sons slam front doors', a jokey tone towards his son's moody swings and anger. The persona finds his behaviour amusing, knowing that these teenage things were something he'd do. 'I think of Cardiff outskirts where, once, captured acres played', the persona looks back on how he was in his youth. The persona reflects on his childish, fun games, 'acres' are 'small tamed gardens' suggesting his imagination that his ran wild, still being naive and foolish. 'The concrete way', solid traditions and rules is like society's expectations and ideals that have 'supplanted grass, wild flowers', growing up replacing his youth and having to change. 'Now my son is like that, altering everyday', that his son is now acting like how he did. The son is constantly changing, maturing and growing up with time and this shows that nothing stays the same, that Abse's current self is different to his younger self.
In the second stanza, 'those new semis that seem ashamed' to describe himself. The new semi houses feel out of place and that they don't belong there. This is like the feeling of growing up and discovering yourself, something hard to do in your teenage years where you were confused and 'ashamed' if you didn't fit in. 'The frontier of Nowhere' could suggest in youth wanting to find yourself too. Nowhere is given a capital to make it a place, implying that it's somewhere everyone has been and can relate to. The 'chaos clash' of not knowing anything, of who you want to be and what you want to become. being adolescent was both 'prim and brash'. This juxtaposition of two opposites highlights the changing emotions, and a teenager's confusion of wanting to be independent but also wanting to be looked after, and being mature but acting childish. The question mark shows how uncertain growing up is.
The third stanza is quite philosophical, 'strange a London door should slam and I think thus, of Cardiff evenings'. The reference to London, where his son is currently slamming the door is the same as what he did in his hometown. In Cardiff his son shut the door because he wanted to grow up and explore the world, and the persona thinks it's strange for him to do this. Maybe it's because his son is uncomfortable and unfamiliar in this new place, an outsider. The son takes him back to his own past, and makes him remember his youth. Cardiff is described as 'ruins where ghost abide', an 'awkward Anglo-Welsh half town, half countryside', using opposites to describe his son, not knowing where he is and that he doesn't belong anywhere. He feels 'awkward', and out of place.
'Son, you are like that and I love for it', the persona empathising and understanding his son, representing the good relationship they have. 'In adult rooms the hesitant sense of not belonging quite' shows how his son is trying to be mature but is still in his youth, 'hesitant' to accept he is still a child.
The last three lines seem like a warning, 'Too soon maturity will switch off your night thrust fake electric roots, the nameless becoming wrongly named and your savage darkness bright'. The persona looks back with perspective, his warning is that this will happen to his son too and he should watch what he does. It could imply that his son is going down the wrong path, and the pessimistic view that he will turn out like his father makes it seem like the son's future is limited. 'Darkness bright' is an oxymoron, suggesting that they are together and similar people but are totally different and will have different futures.
Links to Larkin:
Dockery & Sons - father and son relationship, looking back on youth, highlighting similarities
Reference Back - shared love of music reminds the mother of her youth like the persona in Sons reminded by youth by son
Love Songs in Age - reflection of past
The poem is about the relationship between father and son, and is highlighted with themes of growing up, youth, time and memories.
Content:
In this poem the persona looks back on his youth but compared himself to his son and his younger self. The similarities between himself and his son make him remember his young self.
Analysis:
The first line of the poem uses alliteration and sibilance, 'sarcastic sons slam front doors', a jokey tone towards his son's moody swings and anger. The persona finds his behaviour amusing, knowing that these teenage things were something he'd do. 'I think of Cardiff outskirts where, once, captured acres played', the persona looks back on how he was in his youth. The persona reflects on his childish, fun games, 'acres' are 'small tamed gardens' suggesting his imagination that his ran wild, still being naive and foolish. 'The concrete way', solid traditions and rules is like society's expectations and ideals that have 'supplanted grass, wild flowers', growing up replacing his youth and having to change. 'Now my son is like that, altering everyday', that his son is now acting like how he did. The son is constantly changing, maturing and growing up with time and this shows that nothing stays the same, that Abse's current self is different to his younger self.
In the second stanza, 'those new semis that seem ashamed' to describe himself. The new semi houses feel out of place and that they don't belong there. This is like the feeling of growing up and discovering yourself, something hard to do in your teenage years where you were confused and 'ashamed' if you didn't fit in. 'The frontier of Nowhere' could suggest in youth wanting to find yourself too. Nowhere is given a capital to make it a place, implying that it's somewhere everyone has been and can relate to. The 'chaos clash' of not knowing anything, of who you want to be and what you want to become. being adolescent was both 'prim and brash'. This juxtaposition of two opposites highlights the changing emotions, and a teenager's confusion of wanting to be independent but also wanting to be looked after, and being mature but acting childish. The question mark shows how uncertain growing up is.
The third stanza is quite philosophical, 'strange a London door should slam and I think thus, of Cardiff evenings'. The reference to London, where his son is currently slamming the door is the same as what he did in his hometown. In Cardiff his son shut the door because he wanted to grow up and explore the world, and the persona thinks it's strange for him to do this. Maybe it's because his son is uncomfortable and unfamiliar in this new place, an outsider. The son takes him back to his own past, and makes him remember his youth. Cardiff is described as 'ruins where ghost abide', an 'awkward Anglo-Welsh half town, half countryside', using opposites to describe his son, not knowing where he is and that he doesn't belong anywhere. He feels 'awkward', and out of place.
'Son, you are like that and I love for it', the persona empathising and understanding his son, representing the good relationship they have. 'In adult rooms the hesitant sense of not belonging quite' shows how his son is trying to be mature but is still in his youth, 'hesitant' to accept he is still a child.
The last three lines seem like a warning, 'Too soon maturity will switch off your night thrust fake electric roots, the nameless becoming wrongly named and your savage darkness bright'. The persona looks back with perspective, his warning is that this will happen to his son too and he should watch what he does. It could imply that his son is going down the wrong path, and the pessimistic view that he will turn out like his father makes it seem like the son's future is limited. 'Darkness bright' is an oxymoron, suggesting that they are together and similar people but are totally different and will have different futures.
Links to Larkin:
Dockery & Sons - father and son relationship, looking back on youth, highlighting similarities
Reference Back - shared love of music reminds the mother of her youth like the persona in Sons reminded by youth by son
Love Songs in Age - reflection of past
Postcard To His Wife
Theme:
Abse highlights themes of love and marriage within this poem, but reminiscing on his wife but shows that there is an enduring nature to this love and that he misses her. There is a theme of death and grief.
Content:
This is a personal poem about Abse's loss of his wife, who died at age of 78 in a car crash (Abse was there by just wounded). He wrote this poem shortly after the accident, and Abse is the persona in this poem.
Analysis:
The tone of the poem is sad, loving but lonely and Abse shows desperation to his wife, for her to come back though the fact that there is no rhyme scheme implies she can't come back, that the pattern and purpose of his life is no longer existing without her.
Postcards are written to loved ones whilst away from them, usually on holiday, to tell them what they've been doing, a personal way to communicate with someone when there's distance between each other. Abse uses a postcard to talk to his wife, a more fun way to represent his feelings without grieving. Usually on postcards the phrase 'Wish you were here' is used, and this is very literal in the poem, in fact Abse uses it as the first line of his poem. The short sentence is powerful, a sense of longing and hope, but also like the short nature of a postcard. The caesura in the first line could present the bluntness of death, that all things can't change or go back and the full stop implies Abse has to move on but also the distance between Abse and his wife, that they are now separated.
'It's a calm summer's day and the dulcamara of memory is not enough'. 'Dulcamara is the treatment for certain diseases, and this is not enough to heal his broken heart. He still suffers the pain of his loss, and Abse doesn't find comfort in the calm summer's day. The day gives him a short happiness, the sun and calm all positive surroundings however he can't forget what has happened and he can not stop grieving. 'I confess' is the unveiling of Abse's emotions, the things he found hard to say but feels he can say in his postcard. 'I know the impoverishment of self', implies he is nothing without her, and she was the only thing that held value in his life. He feels like nothing, and has no purpose anymore, but also appreciates that he got to spend his time with her when she was alive. 'The Venus de Milo is only stone' is a reference to a Greek sculpture, that God (of love and beauty) is only stone now. That it is cold, cruel and hard to touch, presenting the harsh reality of what has happened. Stone can only be broken but can't be recreated by man, like his wife and his love for her. It is just a memory, not a reality. His wife made him believe without her things have no meaning.
'So come home. The bed's too big!'' shows the desperation, trying to hold onto her by relating the issue with daily life and objects in his life as a comfort. He is fooling himself to pretend she has just gone away, and the petty issues like having extra room in the bed is a jokey complaint. This sad humour shows his loneliness. He's mourning, unable to change what has occurred but wishing it wasn't that way. 'Make excuses', makes it seem like she has just gone away, or busy, and could come back to him. Abse is trying to be light-hearted and not show he's suffering but there is clear heartbreak underneath. The second stanza includes 'we are agents in an obscure drama', a comical view that she has gone away to venture and explore 'some cryptic message'.
Abse becomes more desperate in the fourth stanza as he says, 'Anything! But come home'. Abse is crying out for his wife, and there is clear pain and frustration. 'Then we'll motor, just you, just me' beginning to dream of it just them, that he needs no one else in his life. Abse just wants to be alone with his wife, and he can't cope alone. He describes the romantic adventure of following the 'twisting narrow lanes', the imagery so detailed he's already done this with his wife and wants to repeat the past. 'Wild business' implies to us that the flowers and people are free and able to go wherever they wish however business suggests control and restriction. Placing the words together implies that perhaps this enjoyment of going on a journey is out of their control. The 'roses and clematis' represent beauty, and she is beauty to him.
The fourth stanza shows this dream world that Abse longs for. 'Mimic the old gods who enacted the happy way to be holy' could suggest that love is the path to happiness and that the old gods who represent love were most happy, and he needs his wife to be happy again. 'Holy' and 'old gods', implies that religion places big role in life, that it's used as a comfort and to help cope with hard times. Abse refers to his wife as 'dear', an affectionate name to represent the closeness he had to her. He describes himself as 'uxorious', meaning wife in Latin, and he misses her greatly, 'absence can't make Abse's heart grow fonder'. This genetic saying is put ironically, that death is the biggest absence and it makes him desperate to have her back. This is the reality to life and love.
Abse highlights themes of love and marriage within this poem, but reminiscing on his wife but shows that there is an enduring nature to this love and that he misses her. There is a theme of death and grief.
Content:
This is a personal poem about Abse's loss of his wife, who died at age of 78 in a car crash (Abse was there by just wounded). He wrote this poem shortly after the accident, and Abse is the persona in this poem.
Analysis:
The tone of the poem is sad, loving but lonely and Abse shows desperation to his wife, for her to come back though the fact that there is no rhyme scheme implies she can't come back, that the pattern and purpose of his life is no longer existing without her.
Postcards are written to loved ones whilst away from them, usually on holiday, to tell them what they've been doing, a personal way to communicate with someone when there's distance between each other. Abse uses a postcard to talk to his wife, a more fun way to represent his feelings without grieving. Usually on postcards the phrase 'Wish you were here' is used, and this is very literal in the poem, in fact Abse uses it as the first line of his poem. The short sentence is powerful, a sense of longing and hope, but also like the short nature of a postcard. The caesura in the first line could present the bluntness of death, that all things can't change or go back and the full stop implies Abse has to move on but also the distance between Abse and his wife, that they are now separated.
'It's a calm summer's day and the dulcamara of memory is not enough'. 'Dulcamara is the treatment for certain diseases, and this is not enough to heal his broken heart. He still suffers the pain of his loss, and Abse doesn't find comfort in the calm summer's day. The day gives him a short happiness, the sun and calm all positive surroundings however he can't forget what has happened and he can not stop grieving. 'I confess' is the unveiling of Abse's emotions, the things he found hard to say but feels he can say in his postcard. 'I know the impoverishment of self', implies he is nothing without her, and she was the only thing that held value in his life. He feels like nothing, and has no purpose anymore, but also appreciates that he got to spend his time with her when she was alive. 'The Venus de Milo is only stone' is a reference to a Greek sculpture, that God (of love and beauty) is only stone now. That it is cold, cruel and hard to touch, presenting the harsh reality of what has happened. Stone can only be broken but can't be recreated by man, like his wife and his love for her. It is just a memory, not a reality. His wife made him believe without her things have no meaning.
'So come home. The bed's too big!'' shows the desperation, trying to hold onto her by relating the issue with daily life and objects in his life as a comfort. He is fooling himself to pretend she has just gone away, and the petty issues like having extra room in the bed is a jokey complaint. This sad humour shows his loneliness. He's mourning, unable to change what has occurred but wishing it wasn't that way. 'Make excuses', makes it seem like she has just gone away, or busy, and could come back to him. Abse is trying to be light-hearted and not show he's suffering but there is clear heartbreak underneath. The second stanza includes 'we are agents in an obscure drama', a comical view that she has gone away to venture and explore 'some cryptic message'.
Abse becomes more desperate in the fourth stanza as he says, 'Anything! But come home'. Abse is crying out for his wife, and there is clear pain and frustration. 'Then we'll motor, just you, just me' beginning to dream of it just them, that he needs no one else in his life. Abse just wants to be alone with his wife, and he can't cope alone. He describes the romantic adventure of following the 'twisting narrow lanes', the imagery so detailed he's already done this with his wife and wants to repeat the past. 'Wild business' implies to us that the flowers and people are free and able to go wherever they wish however business suggests control and restriction. Placing the words together implies that perhaps this enjoyment of going on a journey is out of their control. The 'roses and clematis' represent beauty, and she is beauty to him.
The fourth stanza shows this dream world that Abse longs for. 'Mimic the old gods who enacted the happy way to be holy' could suggest that love is the path to happiness and that the old gods who represent love were most happy, and he needs his wife to be happy again. 'Holy' and 'old gods', implies that religion places big role in life, that it's used as a comfort and to help cope with hard times. Abse refers to his wife as 'dear', an affectionate name to represent the closeness he had to her. He describes himself as 'uxorious', meaning wife in Latin, and he misses her greatly, 'absence can't make Abse's heart grow fonder'. This genetic saying is put ironically, that death is the biggest absence and it makes him desperate to have her back. This is the reality to life and love.
Two Photographs
Theme:
Abse looks at the passing of time and memories, old-age and identity and history compared to the present, using photographs to reflect on the past.
Content:
The persona looks through old photographs to find his two grandmothers, Doris and Annabella, and reminisces about them. Larkin compares the two women.
Analysis:
The rhyme scheme and structure of the poem is uneven and irregular, like memories and how time constantly changes things, like the portrayal of memories and people.
The two women are described in the first stanza. Annabella is described as 'slim', 'vulnerable' and 'pretty', compared to Doris who is 'portly', 'formidable' and 'handsome'. Abse lets the reader know straight away that the two women are different, recalling their appearance that reflects their personality. Annabella seems to be attractive, innocent and feminine unlike Doris who seems nice, pleasant but 'handsome'. Abse describes how both women dress, Annabella a 'demure black frock with an amber brooch', and Doris 'a lacy black gown with a string of pearls'. Annabella is more subtle and elegant, effortless in her clothes. She is reserved, modest and almost shy through her clothes compared to Doris who wears lace, a seductive material that's bold and extravagant with the pearls. Annabella wears a 'frock' whereas Doris wears a 'gown', suggesting that Annabella could be younger and more vibrant than the other grandmother that's older and mature. Doris's clothing description is in the second stanza, implying that there is a big separation to the women's likenesses. Abse only describes the physical memory of the photograph, only based on an image not by an actual memory.
In the second stanza Abse describes the date and location of the photographs. One 'marked Ystalyfera 1880 the other Bridgend 1890'. Both are from Wales, however the women aren't labelled to one location which suggests that Abse doesn't know, and lacks that memory of the women. The final line of this stanza, 'Both were to say, 'Cheese'; one, defiant, said 'Chalk!'', implies the different personalities, though we don't know which woman is 'defiant'. The women are like chalk and cheese, complete opposites. One woman is more eccentric, unlike the other who is reserved, mostly like Doris to shout 'Chalk!' Abse could be questioning the reader to see if they match appearance to personality, stereotyping people to dress how they act and likewise.
The third stanza focuses more on the personalities of the women. They talk in different accents and their eating habits are outlined. Annabella 'fasted - pious, passive, enjoyed small talk'. She is religious, feminine and polite, good company to be around. Doris 'feasted - pacy, pushy, would never pray. Ate pork!' The repetition makes Doris sound bold, rude, fat and quite rebellious. Eating pork was shocking to Jewish families, forbidden for their religion. Doris doesn't conform to religion, and Annabella 'told Doris she was damned', suggesting she didn't agree with her, or they didn't like each other. 'I liked Doris, I liked Annabella, though Doris was bossy and Annabella daft'. Abse loved them both, despite their contrasts and faults.
In the fourth stanza recalls a dream with both women in, standing 'back to back, not for the commencement of a duel but to see who was taller'. This suggests a rivalry and competition between the women. They don't to fight but constantly compare themselves with each other. The tone now shifts from being light-hearted to depressing. The sensory memory of 'Eat de Cologne', is part of the stereotypical view of old women, 'buns of grey hair, of withered rose'. These memories of their age 'seem illusory, fugitive, like my dream'. They are just memories, a dream that will only survive through just the photograph because they will be forgotten. 'Sieved through leaky curtains and disappears when and where that sunbeam goes', suggests that memories can go at any time, and come back in thin glances, or occasionally. Nostalgia is unpredictable, and ambiguous. 'Sieved' and 'leaky' imply that time covers memories and only old memories can seep through, details lost and forgotten.
The last stanza is cynical and philosophical, a depressing view of death. 'Two old ladies once uxoriously loved, what's survived?' The women were once loved now they are forgotten, a missed fondness that has come to an end when they die. Abse suggests that only physical items remain to keep them alive, like 'an amber brooch, a string of pearls, two photographs'. This view is sad, that everything is stored in material objects to only view their appearance and their personality is left behind. Abse talks about time, and 'my children's grandchildren' will not remember him, so he 'never lived'. Dead exists in the minds of people and within memories who knew and loved them, if you forget about your family and don't tell younger people then they no longer exist.
Links to Larkin:
For Sidney Bechet - a celebration of life
Love Songs in Age - memory through objects
Wild Oats - comparing women
Abse looks at the passing of time and memories, old-age and identity and history compared to the present, using photographs to reflect on the past.
Content:
The persona looks through old photographs to find his two grandmothers, Doris and Annabella, and reminisces about them. Larkin compares the two women.
Analysis:
The rhyme scheme and structure of the poem is uneven and irregular, like memories and how time constantly changes things, like the portrayal of memories and people.
The two women are described in the first stanza. Annabella is described as 'slim', 'vulnerable' and 'pretty', compared to Doris who is 'portly', 'formidable' and 'handsome'. Abse lets the reader know straight away that the two women are different, recalling their appearance that reflects their personality. Annabella seems to be attractive, innocent and feminine unlike Doris who seems nice, pleasant but 'handsome'. Abse describes how both women dress, Annabella a 'demure black frock with an amber brooch', and Doris 'a lacy black gown with a string of pearls'. Annabella is more subtle and elegant, effortless in her clothes. She is reserved, modest and almost shy through her clothes compared to Doris who wears lace, a seductive material that's bold and extravagant with the pearls. Annabella wears a 'frock' whereas Doris wears a 'gown', suggesting that Annabella could be younger and more vibrant than the other grandmother that's older and mature. Doris's clothing description is in the second stanza, implying that there is a big separation to the women's likenesses. Abse only describes the physical memory of the photograph, only based on an image not by an actual memory.
In the second stanza Abse describes the date and location of the photographs. One 'marked Ystalyfera 1880 the other Bridgend 1890'. Both are from Wales, however the women aren't labelled to one location which suggests that Abse doesn't know, and lacks that memory of the women. The final line of this stanza, 'Both were to say, 'Cheese'; one, defiant, said 'Chalk!'', implies the different personalities, though we don't know which woman is 'defiant'. The women are like chalk and cheese, complete opposites. One woman is more eccentric, unlike the other who is reserved, mostly like Doris to shout 'Chalk!' Abse could be questioning the reader to see if they match appearance to personality, stereotyping people to dress how they act and likewise.
The third stanza focuses more on the personalities of the women. They talk in different accents and their eating habits are outlined. Annabella 'fasted - pious, passive, enjoyed small talk'. She is religious, feminine and polite, good company to be around. Doris 'feasted - pacy, pushy, would never pray. Ate pork!' The repetition makes Doris sound bold, rude, fat and quite rebellious. Eating pork was shocking to Jewish families, forbidden for their religion. Doris doesn't conform to religion, and Annabella 'told Doris she was damned', suggesting she didn't agree with her, or they didn't like each other. 'I liked Doris, I liked Annabella, though Doris was bossy and Annabella daft'. Abse loved them both, despite their contrasts and faults.
In the fourth stanza recalls a dream with both women in, standing 'back to back, not for the commencement of a duel but to see who was taller'. This suggests a rivalry and competition between the women. They don't to fight but constantly compare themselves with each other. The tone now shifts from being light-hearted to depressing. The sensory memory of 'Eat de Cologne', is part of the stereotypical view of old women, 'buns of grey hair, of withered rose'. These memories of their age 'seem illusory, fugitive, like my dream'. They are just memories, a dream that will only survive through just the photograph because they will be forgotten. 'Sieved through leaky curtains and disappears when and where that sunbeam goes', suggests that memories can go at any time, and come back in thin glances, or occasionally. Nostalgia is unpredictable, and ambiguous. 'Sieved' and 'leaky' imply that time covers memories and only old memories can seep through, details lost and forgotten.
The last stanza is cynical and philosophical, a depressing view of death. 'Two old ladies once uxoriously loved, what's survived?' The women were once loved now they are forgotten, a missed fondness that has come to an end when they die. Abse suggests that only physical items remain to keep them alive, like 'an amber brooch, a string of pearls, two photographs'. This view is sad, that everything is stored in material objects to only view their appearance and their personality is left behind. Abse talks about time, and 'my children's grandchildren' will not remember him, so he 'never lived'. Dead exists in the minds of people and within memories who knew and loved them, if you forget about your family and don't tell younger people then they no longer exist.
Links to Larkin:
For Sidney Bechet - a celebration of life
Love Songs in Age - memory through objects
Wild Oats - comparing women
Terrible Angels
Theme/Content:
This poem is about war, and the effects on war. The poem reminisces on when they were younger and how their father used to fight in the war, collecting all these medals, has returned to show his son.
Analysis:
Terrible Angels is an oxymoron, a paradox that angels are meant to sent from heaven, the place of complete bliss and peace, a paradise to be, yet they are terrible, which suggests destruction and corruption. Angels are flawless, graceful and innocence, the opposite to terrible. The angels are prayed to by soldiers to save themselves from the enemy however this is ironic because to live, others must die, and this becomes a tragedy.
'One bedtime' suggests the persona is a child, yet this is written in past tense which could mean that Abse is reflecting on his childhood and his father. The medals had 'pretty coloured ribbons', like toys and play things, his father displays this as a prize, a proud possession. They are a symbol of achievement, and are there still as a memory of the war, something that is very much still in his life, represented by the metals.
'Elite and puissant expedition from God' is having great power/influence in higher class, the expedition given from God suggests that going to war was righteous, and this was seen as courageous and moral for men back then. Religion has a large influence on the soldiers that fought.
The 'angels of Mons', the Battle of Mons which was the first major battle in WW1, are described to make 'horses bolt and flocks of meat-snatching birds to rise'. The 'invisible presence' of the angels can symbolise the war itself, the nature of war or religion, how angels are seen as a comfort to protect the soldiers in difficult times and help them defeat the enemy however this is ironic because the angels scare the 'horses'. They symbolise death, from heaven themselves, the soldiers are looking for protection against death by wanting others to die. The 'meat-snatching birds' are vultures, watching over the soldiers waiting for them, 'circle around and around like a carousel'. Death is eternal, forever and part of the cycle of life meaning that the soldiers will never escape it. They might escape death in the war but will be haunted by others deaths.
'But war coarsens (he said) even genteel angels', suggests that war will make things vulgar and unpleasant because even the most kindest, gentle angels are corrupted by war, that fighting can scar them. 'When they spoke it was the silence of gas, amen; when they sang it was the shrapnel striking helmets', is a metaphor, that the soldiers would wish upon destructive deaths for the enemy to die and for them to live. Gas is a silent killer, that death can creep up slowly upon some unlike shrapnel striking helmets which is quite loud, metal clashing and sounds more painful. The protection of the soldiers relied on the death of the enemy to survive. 'Stealthily visible' is an oxymoron, that if you are stealthy you shouldn't be seen because you're quick and agile. The angels are stealthy because they can kill easily and unexpectedly, yet this is visible to everyone because a death man will just lay there, the remains of a life.
The angels are described as 'cold', 'bold and bloodthirsty' and 'thrilled' by the haunting 'screams' coming from the soldiers on the battlefield. This suggests that the angels are corrupt, they have evil elements about them but are still described as angels which is the complete opposite. The destruction and death of the enemy was comforting throughout the war because it meant survival for another, yet in any other case this would be shocking and terrible. The father says that these show 'true facsimiles of men', that satisfaction from death and selfishness of survival was what men were really about. Men were like this before civilisation, that their true madness was uncovered.
The final stanza is only two lines, an after thought because of the brackets used, which makes these lines stand out. (My father, invalided home, was told he know more about angels than was healthy.) The father seemed to be too aware of the angels, knowing too much of the war so that the haunting nature of war has scarred him. Though the war was behind them, the memory still remains, an obsession that he couldn't let go off. This is the real, horrific affect of war. War has taken a toll on him and left him weak and scarred.
This poem is about war, and the effects on war. The poem reminisces on when they were younger and how their father used to fight in the war, collecting all these medals, has returned to show his son.
Analysis:
Terrible Angels is an oxymoron, a paradox that angels are meant to sent from heaven, the place of complete bliss and peace, a paradise to be, yet they are terrible, which suggests destruction and corruption. Angels are flawless, graceful and innocence, the opposite to terrible. The angels are prayed to by soldiers to save themselves from the enemy however this is ironic because to live, others must die, and this becomes a tragedy.
'One bedtime' suggests the persona is a child, yet this is written in past tense which could mean that Abse is reflecting on his childhood and his father. The medals had 'pretty coloured ribbons', like toys and play things, his father displays this as a prize, a proud possession. They are a symbol of achievement, and are there still as a memory of the war, something that is very much still in his life, represented by the metals.
'Elite and puissant expedition from God' is having great power/influence in higher class, the expedition given from God suggests that going to war was righteous, and this was seen as courageous and moral for men back then. Religion has a large influence on the soldiers that fought.
The 'angels of Mons', the Battle of Mons which was the first major battle in WW1, are described to make 'horses bolt and flocks of meat-snatching birds to rise'. The 'invisible presence' of the angels can symbolise the war itself, the nature of war or religion, how angels are seen as a comfort to protect the soldiers in difficult times and help them defeat the enemy however this is ironic because the angels scare the 'horses'. They symbolise death, from heaven themselves, the soldiers are looking for protection against death by wanting others to die. The 'meat-snatching birds' are vultures, watching over the soldiers waiting for them, 'circle around and around like a carousel'. Death is eternal, forever and part of the cycle of life meaning that the soldiers will never escape it. They might escape death in the war but will be haunted by others deaths.
'But war coarsens (he said) even genteel angels', suggests that war will make things vulgar and unpleasant because even the most kindest, gentle angels are corrupted by war, that fighting can scar them. 'When they spoke it was the silence of gas, amen; when they sang it was the shrapnel striking helmets', is a metaphor, that the soldiers would wish upon destructive deaths for the enemy to die and for them to live. Gas is a silent killer, that death can creep up slowly upon some unlike shrapnel striking helmets which is quite loud, metal clashing and sounds more painful. The protection of the soldiers relied on the death of the enemy to survive. 'Stealthily visible' is an oxymoron, that if you are stealthy you shouldn't be seen because you're quick and agile. The angels are stealthy because they can kill easily and unexpectedly, yet this is visible to everyone because a death man will just lay there, the remains of a life.
The angels are described as 'cold', 'bold and bloodthirsty' and 'thrilled' by the haunting 'screams' coming from the soldiers on the battlefield. This suggests that the angels are corrupt, they have evil elements about them but are still described as angels which is the complete opposite. The destruction and death of the enemy was comforting throughout the war because it meant survival for another, yet in any other case this would be shocking and terrible. The father says that these show 'true facsimiles of men', that satisfaction from death and selfishness of survival was what men were really about. Men were like this before civilisation, that their true madness was uncovered.
The final stanza is only two lines, an after thought because of the brackets used, which makes these lines stand out. (My father, invalided home, was told he know more about angels than was healthy.) The father seemed to be too aware of the angels, knowing too much of the war so that the haunting nature of war has scarred him. Though the war was behind them, the memory still remains, an obsession that he couldn't let go off. This is the real, horrific affect of war. War has taken a toll on him and left him weak and scarred.
Tuesday, 1 April 2014
Naturally The Foundations Will Bear Your Expenses
Theme:
This poem includes the idea of war, and remembrance day which includes the reflection of those who fought in the past. There is an element of travelling and education throughout the poem.
Content:
The persona is dislikable, and rude towards a historical event as he sits in a taxi and the events of remembrance day are making him late for his plane. His views are controversial, with no sentiment, pity or feeling for humanity towards the past.
Analysis:
Bearing 'your expenses' is taking away the difficulties, and people take advantage to this because expenses make us view life cynically. Expenses could include transport and accommodation.
'Catch my comet' describes the persona travelling, by plane, to somewhere far away from where he is. The 'my' makes the persona sound possessive and dislikable.
'One dark November day' shows that the poem is about remembrance day, the 11th November, the day WW1 soldiers are respected and remembered. The 'dark' suggests that the persona sees this with a miserable, pessimistic, dull view, like it's just another day. In the first stanza Abse compares this day to all the places he has been, a different world to what he sees. The persona brags about these places and people, 'the sunshine of Bombay', reading 'pages Berkeley' which implies that the persona is academic, and the 'Third' is the most intellect BBC radio program of the time, showing that the persona is showing off.
'Crowds, colourless and careworn' an alliteration that becomes scathing, snobbish and makes the persona's surrounding seem bland and uninteresting. The person doesn't understand why this is making his taxi late until he is 'airborne'. 'The day when Queen and Minister and Band of Guards and all still act their solemn-sinister wreath-rubbish in Whitehall', suggests the authority, and higher status people pay their respects as a fake performance, just to follow their duties by 'acting'. There is some irony that the Queen sympathises with these soldiers but she was the one that sent the men to their death, a kind of hypocrisy. 'Solemn' implies that Larkin is expected to be respectful but instead he is shocking and against it. 'Wreath-rubbish' is rude and critical of remembrance day, aimed at the upper class.
'It used to make me throw up' is an exaggeration on how Larkin thinks the event is sickening, 'these mawkish, nursery games' are just done because of tradition, done thoughtlessly. The persona is rude to the day, a pointless symbol, devoid of its true meaning. 'O When will England grow up?' is rude to the monarchy, a parade of grief and how it's acted out, England wasting their time on something they need to forget.
The persona name drops in the last stanza also, a rude, critising character.
This poem includes the idea of war, and remembrance day which includes the reflection of those who fought in the past. There is an element of travelling and education throughout the poem.
Content:
The persona is dislikable, and rude towards a historical event as he sits in a taxi and the events of remembrance day are making him late for his plane. His views are controversial, with no sentiment, pity or feeling for humanity towards the past.
Analysis:
Bearing 'your expenses' is taking away the difficulties, and people take advantage to this because expenses make us view life cynically. Expenses could include transport and accommodation.
'Catch my comet' describes the persona travelling, by plane, to somewhere far away from where he is. The 'my' makes the persona sound possessive and dislikable.
'One dark November day' shows that the poem is about remembrance day, the 11th November, the day WW1 soldiers are respected and remembered. The 'dark' suggests that the persona sees this with a miserable, pessimistic, dull view, like it's just another day. In the first stanza Abse compares this day to all the places he has been, a different world to what he sees. The persona brags about these places and people, 'the sunshine of Bombay', reading 'pages Berkeley' which implies that the persona is academic, and the 'Third' is the most intellect BBC radio program of the time, showing that the persona is showing off.
'Crowds, colourless and careworn' an alliteration that becomes scathing, snobbish and makes the persona's surrounding seem bland and uninteresting. The person doesn't understand why this is making his taxi late until he is 'airborne'. 'The day when Queen and Minister and Band of Guards and all still act their solemn-sinister wreath-rubbish in Whitehall', suggests the authority, and higher status people pay their respects as a fake performance, just to follow their duties by 'acting'. There is some irony that the Queen sympathises with these soldiers but she was the one that sent the men to their death, a kind of hypocrisy. 'Solemn' implies that Larkin is expected to be respectful but instead he is shocking and against it. 'Wreath-rubbish' is rude and critical of remembrance day, aimed at the upper class.
'It used to make me throw up' is an exaggeration on how Larkin thinks the event is sickening, 'these mawkish, nursery games' are just done because of tradition, done thoughtlessly. The persona is rude to the day, a pointless symbol, devoid of its true meaning. 'O When will England grow up?' is rude to the monarchy, a parade of grief and how it's acted out, England wasting their time on something they need to forget.
The persona name drops in the last stanza also, a rude, critising character.
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