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Todo Lo Que Necesitas para Literatura Inglesa Iv
Todo Lo Que Necesitas para Literatura Inglesa Iv
1. Representation of history.
Every character in the romance is looking for the truth about what
happen in the past, the biographer and academic scholars: Cropper,
Leonora Stern, Blackadder and Beatrice Nest as well as Maud and
Roland but they could find only a part of it.
2. Characterization in Possession.
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lack of sexual life in the marriage. Unlike Ellen, Val
in the end starts a relationship with Euan Macintyre,
a solicitor who helps to helps to hatch a plan that
ultimately solves the mystery of the relationship
between Ash and LaMotte.
Maud Bailey: etymologically, the name comes from the Old French
Mahaut, from Medieval Latin Matilda from Germanic. Matilda comes from
French Mathilde, of Germanic original, literally “mighty in battle”. She
fights to discover the story behind the epistolary relationship between
Ash and LaMotte. Literally, Maud is the name of a collection of poems by
Lord Tennyson, Maud: A Monodrama.
Roland Michell: it comes from French, from Old High German Hrodland,
literally “(having) a famous land. Literally, Roland is the main character
of a relevant French romance, La chanson de Roland. In the book, Roland
is also the hero of the story, the one who begins the quest.
Randolph Henry Ash: Randolph comes from Old Norse Rannulfr “shield-
wolf” and Frankish *Rannulf “raven-wolf”. Ash means “ceniza” in English
and maybe in the book it has the idea of the ashes that keep in the air
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and that continue till the modern times. Ash's ashes have been
perpetuated by the research of Maud and Roland.
Blanche Glover: Blanche comes from French Blanche, from Old French
blanc “white”. Blanche has retired herself from society and lives in a pure
world. Glover's meaning appear in Possession in a conversation between
Maud and Roland: “I mean, all those gloves, a minute ago, we were
playing a professional game of hooks and eyes _ mediaeval gloves, giants'
gloves, Blanche Glover, Balzac's gloves, the sea-anemone's ovaries _ and
it all reduced like boiling jam to _human sexuality” (292).
Maia: it's the name of the Roman goddess of fertility, literally “she who
brings increase”, related to magnus “great”. Maia, one of the Pleiades, is
from Greek Maia, daughter of Atlas, mother of Hermes, literally “mother,
good mother, dame; foster-mother, nurse, midwife”. Maia is also the
Hindu goddess of energy and, indeed Maia is full of energy according to
the last pages of the book. Besides that, it's important the idea that the
little girl wants to be known as May, an easier name for her, and quite
significative, since May is traditionally the month of spring, what means
life. She is the life created by Ash and Christabel.
Ellen: an older form of Helen. Helen, from French Hélène, from Latin
Helena, from Greek Helene, probably fem. of helenos “the bright one”. In
Greek mythology, Helen's kidnap was the reason why the war of Troy
started.
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end, some lesson derived from the past story helps them to take decisions
in the present.
The love stories have many similarities, the male characters were involved
in unhappy relationships and both find another woman with whom share
intellectual interests as well as physical attraction and sexual fulfillment.
The female characters were both described as cool and independent
women, they have a special relationship with a woman: Blanche Glover
and Leonora Stern, and they both betray them. The two couples make
the same journey and they do it secretly, they don't tell nobody where
they go, even if in the end, their partners find out the truth. In the middle
of the novel, the plot lines converge, the lives of the protagonists mimic
each other, but, from that moment on, they take different paths and their
endings are quite different: while Randolph and Christabel live
separately even if they continue being in love, Roland and Maud choose
recognizing their feelings and carrying on with their relationship.
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always be something missing that can be
key to understand their life and writings.
6. Englishness:
7. Parody:
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Female scholars in 1987 are treated with a tinge of fear and trepidation
by their male counterparts. The author gives a satirical perspective on
men's views of these women as roadblocks to discovery more than
colleagues.
The romance
Possession is also a romance in the popular sense of the love story, the
development of two parallel love stories: that of the Victorian literary
writers Randolph Henry Ash and Christabel LaMotte, and that of the
academics Roland Michell and Maud Bailey
All in all, the success of Roland and Maud's quest is based on their
powers of deduction.
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characters. The Baileys and Beatrice Nest can be seen both as helpers
and as obstacles.
Maud and Roland must move through testing to achieve their goal. Good
deeds are rewarded, so when Roland helps Lady Bailey, they gain her
gratitude, which opens the way to Seal Court and to the discovery of the
whole correspondence. Beatrice Nest at first appears as an obstacle, but
(another instance of “test” and “reward”) Maud‘s kindness will turn her
into a helper.
The gothic mode also provides the convention of the hidden manuscript,
which discloses the secret of the hero‘s mysterious origin or brings
solution to issues of rightful heritance or social status. So, Christabel‘s
last letter to Ash reveals that Maud is their direct descendant,
simultaneous solving the problem of property and copyright of the
documents themselves.
It must be added, nevertheless, that also Roland and Maud, in the end,
are proven wrong: they are not so good at being “natural detectives” (p.
237) as they believe to be and there are secrets which will never be
exposed.
Besides, while the modern scholars‘ quest highlights that there is no such
thing as an all-encompassing knowledge, the readers get to know really
“everything” thanks to a Postscript revealing an episode unknown to the
contemporary characters as well as to most of the Victorian ones.
Byatt defended Victorian thinkers in the way that for them everything
was part of one thing: science, philosophy, religion, economics, politics,
women, fiction, and poetry.
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Possession is definitely a novel in which intertextuality is constantly used
but it also relies strongly on internal references and echoes: while it can
be true, as Chris Walsh pointed out, the “connections are traced avidly
by readers within the book”, it also undeniable that sometimes only the
“external” reader is able to detect and fully understand them. While
intertextuality underlines Byatt‘s wide cultural background and imagery,
intratextuality highlights her ability as a story-teller to create a complex
and multi-layered plot which nonetheless turns out to be articulate and
coherent.
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possession of the stolen letters, the possession of the lovers to each other,
and many other references make a neatly wrapped up and extended
theme for the text. It is obvious that Byatt either had the title in mind
from the beginning, or consciously decided on it as a motif. In either case,
it works well.
Roland uses the bathroom first and notes how incredibly clean and tidy
it is compared to his messy home. Roland invades the ivory tower where
Maud lives and works, disrupting her daily life and changing her views.
Also, the small circular room where Miss LaMotte lived out the
remainder of her life seems like a prison. Her lyrical works frequently
begin the chapter.
All in all, the above poem fulfils several roles in Byatt‘s novel. One of the
tasks is to present an example of female poetry. As lyrical poems are
perceived as one of the most demanding kinds of literature, the quotation
of a ―female poem is ample proof that women might be good at creating
complex art. In addition to this, this poem is composed by a Victorian
woman, which makes it more valuable in the eyes of contemporaries; it
shows the role females had to play in Victorian society. In short, they
were supposed to sit at home, preferably in a dark place, seen by nobody.
Even if they were intelligent and had their own opinion, they were hardly
ever given the opportunity to show it. The poem presents a woman by
contrasting her with the man. One may find the apparent contradictions
differentiating a man from a woman, and – what is more – showing the
unequal treatment to which both sexes were subjected. The most striking
contrast is the names of the places both male and female might be found:
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Public Square Dark Room
MAN WOMAN
Note that a Public Square is associated with an open space, which is
frequently associated with freedom, while the room stands for an
enclosed territory, limited by walls, or, in a broader sense, by some social
or moral rules. In this case the Public Square exemplifies the possibility
for a man to make himself visible, to realize his desires and to use his
free will. On the other hand, the Dark Room is the manifestation of the
restrictions Victorian society put on females.
The names of both of the places are written in
capital letters, which has a significant
influence on the interpretation of these
names. The use of capital letters in the name
of Public Square might be the reflection of
human craving for some space, and the
capitals: P and S might symbolize the space.
The letters D(ark) R(oom) might enhance the
feeling of alienation in a woman. When she is
alone, limited to the four walls, she tends to
exaggerate her grief and misery.
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covered with dust, mysterious and even scary. The description might
resemble the places of a Gothic style: dark, gloomy and unpleasant.
The trip to Yorkshire will prove Roland and Maud right: the setting and
the language of The Fairy Melusina appears clearly to be inspired by
Yorkshire landscape and speech, but intertextual links between Ash and
LaMotte go even further because, as Roland points out, they influenced
each other‘s writing styles.
The action of the book takes place in two periods. The two main
characters, Roland and Maud, are literary scholars living in the 1980's.
Their love story is shared and played out by the diaries, poetry, and
correspondence of two poets and lovers from the 1860's-Randolph Henry
Ash and Christabel LaMotte.
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marriage is seen as a superficial and this outlook give way for the affair
Ash succumbs to with LaMotte.
Many women of the Victorian era were not able to associate the positive
physical relationship between a married couple because of the strict
ideals the church imposed during this time. During the Victorian era,
women were more limited than men. It was not acceptable for women to
have affairs, but men were held to a different standard. The character of
Ellen is seen as a “victim of patriarchy” because her father so vehemently
opposed to her marrying Ash and the literary conventions that make Ash
desire her in an inaccessible manner. Ellen’s limitations in her life are
similar to many women during this time period who felt inhibited by a
strict religion, insecurity regarding living conditions, or fear of the
reactions of men. These limitations are distinct during the Victorian era
and Byatt is not shy to introduce these concepts in Possession.
LaMotte’s relationship with the painter, Blanch Glover. This secret love
affair involves the scandal of
sexual orientation during the
Victorian era. The relationship
is kept quiet, until Glover
commits suicide after
discovering the relationship
between Ash and LaMotte.
Byatt creates a contemporary
for Glover in the character of
Leonora Stern. Stern’s
character represents the
twentieth century view on
sexual orientation. The twentieth century is more adept in dealing with
sexual orientation, whereas the Victorian era focuses more on social
acceptance. Glover is viewed as the “good lesbian” because she can
control her sexual desires; Stern is viewed as a “dangerous lesbian”
because she fearlessly acts upon her desires.
The Victorian belief on life and love appears more alive and colorful.
Through the development of their relationship, it is evident that the
intensity and passion of a Victorian era couple drastically differs than a
couple from the twentieth century. The modern characters, educated and
trained in poststructuralist and psychoanalytical theories, cannot believe
in something called ‘Love’ anymore, indeed all the ‘looking-into’ and the
theoretical knowledge killed their desire and they long for isolation and
remoteness. Christabel’s reluctance to become romantically involved
with Randolph stems from her awareness of the basic inequality between
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men and women in Victorian society. She cannot be both lover and writer
as these were seen as mutually exclusive roles; she fears that Randolph
will consume her entirely, engulfing her creative genius. She prizes her
self-possession, her solitude, because it enables her to live outside social
conventions and pursue her writing.
Byatt manages to create a thorough outline of the writing style of the time
through the fictional writings (journal extracts, letters, and poems) of Ash
and LaMotte. These two fictional writers are so well constructed that you
believe that they actually existed. They both show different ways of
writing, each with their own particular features, LaMotte‘s being, for
instance, more anarchic and eccentric, but both well fitted into the
Victorian rhetoric and style. They are inspired by real romantic writers
Robert Browning and Christina Rossetti respectively (although LaMotte
resembles American Emily Dickinson too taking into account her
punctuation routine among other features). Moreover, through the letters
that Ash and Christabel sent each other, the reader gets a clear portrait
of the past and its society: the religious unease, their intellectual
curiosities and anxieties, the contradictions of a time where women
longed for freedom but at the same time wrapped themselves up in the
safety offered by their enclosures, sexual celibacy. Regarding that
enclosure aspect there is even an example in one of LaMotte‘s tales, the
princess in the glass coffin, forced into a death-like sleep. The same
seems to have happened to her, who used to live indoors sharing a house
with Blanche Glover, and only seemed to let go of her manners and her
being “caged” when she is in Yorkshire with Ash.
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13. Intertextuality:
14. Irony:
In the novel, the painful and quintessentially Victorian love story of Ash
and LaMotte is retold in their ''own'' words, offering an ironic
counterpoint to the contemporary story of Mitchell and Bailey, who both
eventually do fall into something like ''love.''. By a nice irony, the modern-
day lovers, for all their easy talk of sexuality in their literary analyses, are
rather more timid than their Victorian predecessors and their sexual act
takes place later in the book.
Ironically, Byatt destroys any attempt from the part of any of the
academics at constructing the entire Ash and LaMotte story.
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Continuous revelations and discoveries show that the knowledge and
bold interpretations of scholars are very restricted and superficial. Life
and literature are far greater than academic biography, literary theory,
and even history, which is another slippery and risky field of knowledge.
the novel establishes the (humble) limits of the task of the literary critic
and biographer: as the “Postscript 1968” at the end of the novel seems to
underline, it is impossible for the critic to know all the truth about literary
authors, for there are always important details from the lives of human
beings that cannot be apprehended.
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invest personally in the importance of history, they forget the principle
that there is no such thing as an error free text, and they fall in love, even
though they see love as a ―suspect ideological construct‖ (Possession
323). The metanarratives that they view, in theory, as flawed, begin to
hold meaning for them. Investigating the secret affair allows them to
suspend their disbelief.
6) The novel uses many traditional and newer forms; theoretically based
academic writing as well as popular, lighter writing. The novel is
postmodern in its embrace of experimentation, but it is also something
too complex to be wholly captured by this limiting term. With its
commitment to traditional literature and its insistence on more
traditional values, such as the power and meaning of narratives, it is not
completely postmodern. Byatt‘s intelligent writing resists categorization:
she calls herself a ―self-conscious realist‖.
Possession takes the reader back and forth from the present-time
narrative to the middle of the 19th c. through a collection of
miscellaneous texts è texts-within-the-text, creating a metafictional
crucible, a ventriloquist climax, showing the desire of transcending the
barriers of the traditional fictional work in similar ways. Rejecting a linear
temporal pattern (fragmentary plot) and assuming instead a cyclical and
parallel plot, Possession takes the reader back and forth from the
present-time narrative to the middle of the nineteenth century through a
collection of miscellaneous texts. There are texts-within-the-texts
creating a metafictional crucible where very different elements get mixed,
showing the desire of transcending the barriers of the traditional fictional
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work. Mise en abîmeis, roughly speaking, the French equivalent of
English terms like 'frame narrative' or 'fiction within-fiction'.
17- Metafiction:
18- Romance:
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transgression, the theft of the letters, which marks the starting of a quest.
Roland and Maud look for literary hints based on diaries, poems, letters,
tales etc. and also undertake a journey.
Other plot devices are: the gothic scene of the grave digging during a
stormy night, the disclosure of Maud‘s lineage, and the “happy ending”.
As for the central poem The Fairy Melusine, it can be said that it is in a
way a rewriting of Christina Rossetti's poem Eve, which contents the
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image of the serpent and Keat's poem Lamia where a serpent become a
beautiful girl.
All of the main characters are possessed with the obsession of discovering
and researching beyond the “normal” academic endeavors.
Roland possesses three images of Ash and Val, his partner, don’t like
them, hence, another factor that leads to their “Continuous” fall apart as
a couple.
21- Bildungsroman:
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TIME’S ARROW by Martin Amis
1. Narrative techniques:
2. Holocaust:
They come into his office smiling and feeling fine, and stagger out looking
awful. Narrator concludes that doctors "demolish the human body". As
Herr Doctor Odilo Unverdorben of Auschwitz, however, Tod comes on
like a miracle healer, and not just of individuals. All that horrendous
damage is undone before our eyes, as countless shattered children,
families, cultures, entire nations, are magically reconstituted in all their
original splendour.
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of course he can never be whole again; as the narrator observes, he "can't
feel, won't connect, never opens up, and always holds something back"
4- Role of time:
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is precisely what Unverdorben was doing in real chronological time—
erasing his past. But in reality he was leaving indelible tracks in his wake
that have vexed to nightmare the present age.
Time´s Arrow in a novel full of irony starting with the name of the novel
all the way through the last word of it.
The title implies a forward movement; however the author tells us the
story in a reverse chronology. This strategy forces the reader to steadily
initiate a different kind of reading which forces us to reread in order to
understand what is going on. Time reverse ironically describes the
character´s life beginning with his experience at a hospital stretcher as a
dying old man, until being conceived.
The ´soul´ knows he is inside Tod, but Tod does not share his thoughts.
He also remarks ¨So I am lonely, but not alone, like everybody else¨. The
narrator often says ¨when is the world going to start making sense? He
is aware that the time does not follow the natural movement.
The author also parodies with the extermination of a whole race in order
to give birth to a new one, uncontaminated, unblemished, untouched by
original sin. The main character develops a god-like creator when working
in Auschwitz, and this is perhaps the most outstanding irony in his work,
there was no nihilistic destruction but of creation (Unit 2, page 100).
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6- Postmodern novel:
Amis employs this concept for example when he talks about Dr.
Menguele.
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the narrative flow allows us, readers, to see beyond what the narrator
sees so that we may figure what is really happening. Alerted by the
increasing irony of the voice´s flow, underlined by the unreliable narrator
whose innocence and ignorance often make him widely misinterpret what
he sees.
To sum up, the novel is postmodern in its literary style, with its
destabilized first-person narrative voice, refusal of conventional linear
time, and the use of irony. Because of Time´s Arrow’s postmodern style,
when the narrator sees the arrow flying ―point first‖ on the final page it
is impossible to determine its ultimate direction, and the novel´s
continual destabilization of time refuses the predictable resolution of
cyclical repetition.
7- Different locations:
The different houses where Odilo has loved all along his live are barely
depicted in the novel. All of them seem to be so similar or too common to
describe them. They are like trains stations: places in which stay in for a
little. Only Solingen deserves a brief description. Solingen, his birthplace
place (and Adolf Eich-mann‘s too), is famous for its knives, scissors, and
surgical instruments. His future as a doctor and his relation with the
Nazis seems be fixed since the very beginning, since he has born in a
modest town which is only known because of the medical instruments
made on it and because it‘s the birthplace of a German Nazi SS-
lieutenant colonel.
Lisbon may be considered as the place where Odilo has enjoyed his best
time ever, the Auschwitz opposite. In Lisbon Odilo remains calm,
unstressed, and playful in the way he falls in love soon… Life there is
comfortable and calm, surroundings are soothing and Odilo enjoys a
calm existence, unconcerned of what had happened in Auschwitz.
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8- Violence and power:
Violence, destruction, traumatic facts, are the facts that heal people.
Violence doesn’t destroy buy create. The narration’s reversed temporality
upsets the directionality of cause and effect, past and present. Healing
becomes violence, the Holocaust unfolds as the creation of a people rather
than their destruction, and the war haunting Odilo’s past becomes the
narrator’s future. War is always looming but has also already happened,
and the entire world of the novel appears trapped in a perpetual state of
crisis. Inconceivable disaster lays both ahead and behind, and Odilo’s
life-line cuts history and future possibility short.
In Time’s Arrow Amis deals with the terrifying fact that the twentieth
century has twice confronted us with the limits of the ‘thinkable’—the
Holocaust of WWII and the potential
holocaust of the end of the world.
Amis seems to consider the “nuclear
age” as the continuation of the Final
Solution, with “nuclear holocaust” as
the culmination of the “Nazi ‘project’.
Thus the possibility of nuclear
holocaust—the “possible destruction
of all life”—is implicit in Time’s Arrow,
shadowing the novel’s explicit
examination of Nazi genocide.
The traumatic effects of these scenes at Auschwitz echo across space and
time so that the narrator identifies similar atrocities in post-War America.
The narrator, from his reversed perspective, sees American hospitals as
places of pain and death rather than healing. Caught in crisis-wrought
confusion, the narrator interprets “medicine’s therapeutic role” as
“destructive”, and describes New York surgeons in terms that seem better
suited to Auschwitz doctors. He sees the Nazis, in contrast, as ‘creators’
engaged in “dream[ing] [rather than destroying] a race”. In the novel’s
reversed temporality, creation and destruction are confused and
combined. Through this confusion, the destabilization of time, and the
imagery of war and violence, Time’s Arrow entwines postmodernity and
genocide as causes and effects of the perpetual apocalyptic condition.
9- Doppelgänger:
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He inhabits Unverdorben, who is unaware of his presence, like a
"passenger or parasite" (p.8). Though he lacks access to his host's
thoughts, he is "awash with his emotions" (p.7). He also possesses a
rudimentary conscience - most notably an aversion to human suffering.
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From present to past the narrator (re-) experiences Odilo‘s memories,
walking and hearing things backward and having to translate what he
hears and sees (6-7).
He is alienated from his own body and memories, and finds himself in a
world that does not make sense (82, 149), making him increasingly
―tentative about [things like] cause and effect‖ (44).
For the narrator, this about-face toward history signifies Odilo‘s desire
to reverse the trajectory of the Holocaust, undoing the atrocities and his
own crimes in an effort to evade moral responsibility.
This suggests a shared memory base and a much closer tie between the
narrator and his host than before.
The narrator attempts to cleanse the mind of the doctor much in the same
way as would a Catholic confession. This interpretation could have an
impact on the reader‘s relationship to the doctor. He is now not only an
abuser, but the victim of his own abuse, which results from the
circumstances he finds himself in combined with his personal choices.
He is ―the worst man in the worst place at the worst time‖ (12), and has
not lived a happy and sorrow less life in America, but has lived with
mental bruises that have continuously injured him.
The question is actually whether the conclusion each reader might reach
in regard to this affects the ethical implications of the novel. This question
is indirectly raised by the critics of Holocaust fiction and ties in with the
literary post-modernist interest in, and focus on, the minds of the
perpetrators as opposed to the victims.
He looks at women as objects: from back: hair, waist, rump (soul says he
coincides)
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When the soul first has sex with Irene he feels powerful, but it´s curious
that she is the powerful one, because she knows his secret. Her final
conversation with him, threatening to tell on him, makes him crash his
car.
The soul says two-timing is a loss of integrity but admits it´s a physical
buzz He sleeps with tons of women (uses his status as a doctor), many
dates come from the Association of Medial Services (AMS)
At the clubroom Art says that Tod “Had more ass than a toilet seat” “Still
chasing them?”(He played around)
When he goes to the back streets he ignores the hookers, tries to cure
them (guilt)
He avoids women with kids (one of the first question he asks). Doesn´t
mind boyfriends or husbands, but no children.
Goes back to Europe, De Soussa with his villa and three maids. Special
interest in the 13 year old Gypsy Rosa
Only had sex with Herta once (since he started working at the camps),
got her pregnant.
He treats her with violence, punch in the breast, clean naked on all fours.
1. Use of silence:
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However, while Beckett‘s silences suggest the alienation
of his characters (who are victims of the tedium and
meaninglessness of modern life), Pinter‘s are ominous
and threatening and often foreshadow a violent
denouement.
In Pinter‘s work, the spoken, in which the real concerns of the protagonist
are found, can be identified through his explosive silences and nuances
of vocabulary, perhaps even more so through their actions.
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categorized speech as that which attempts to cover the nakedness of
silence. His most obvious forbear is Irish playwright Samuel Beckett, who
took silences to a new level, and other playwrights of the Theatre of the
Absurd (a French dramatic movement in the 1950s), but whereas
Beckett's silences hint at alienation, boredom, and the slow approach to
death, Pinter's are ominous and violent. The true natures and
motivations of his characters emerge in their silences.
3- Violence:
The language itself is also tinged with violence, especially when the topic
is something seemingly trivial. The men's argument over the phrase
"Light the kettle" is filled with Ben's barbs that intimidate and shame
Gus. Moreover, when Ben screams "THE KETTLE, YOU FOOL!" and
chokes Gus, one gets the feeling that his words are intertwined with the
act of physical violence.
4- Symbols:
Dumb waiter
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Tea
Matches
It starts an absurd fight between Gus and Ben about light the kettle or
light the gas. (Power war….not really about language)
5- Irony:
All the unknown messages and the objects make the readers reach to the
conclusion that everything was planned without even making the
audience suspicious about it. In addition, Pinter makes the characters
confused because they are being emotionally driven by the situations.
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6- Dramatic characterization:
Gus
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dinner menu. Many productions of The Dumb Waiter will give the actor
playing Gus a Cockney accent to emphasize his lower-class standing, but
little else is known about his background. We learn that he has not seen
his mother in a long time, that he enjoys soccer, and is somewhat
unfamiliar with the richer sport of cricket.
By the end of play, Gus becomes somewhat resigned to his life enslaved
to routine. He accepts Ben's instructions to kill by mechanically repeating
them. When he realizes that Ben is betraying him, his silence does not
seem like one of shock. Rather, he has turned into a dumb waiter—
manipulated by others to carry out their directions, unable to speak for
himself.
Ben
Ben is the more dominant of the two criminals. As such, they resemble
the various couples in Samuel Beckett's Waiting for Godot, who also
complement each other with submissive and dominant traits. Ben broods
and reads his newspaper, and his silences are as much a feature of his
character as his dialogue. Whether Gus is asking him about the job,
Wilson, or if he ever gets bored with life, Ben refuses to enter into a
meaningful discussion. Part of the reason, of course, is that he does not
want to reveal the purpose of the job: to execute Gus. The other reason
is that Ben's chilling silences are laced with a defensive violence. Harold
Pinter has defined speech as a strategy designed to cover the nakedness
of silence, and Ben is a prime example. He
compensates for his naked silences with a
constant aura of violence and intimidation. And
just as he frequently checks his gun to maintain
his potential for violence, his often-venomous
speech further obscures his naked vulnerability.
In the argument over the phrase "Light the
kettle," the marriage of violent speech and violent
action seems appropriate when Ben chokes Gus
while screaming "THE KETTLE, YOU FOOL!"
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the organization (one with several "departments"), but he does not have
the same class-consciousness as Gus; his partner is more aware of their
unfortunate lot in life, while Ben considers themselves "fortunate" and
diverts himself with hobbies. He also accepts whatever Wilson tells him
to do, making him as much a manipulated mute carrier of actions as Gus
is to Ben—a human "dumb waiter." His betrayal of Gus
at Wilson's behest is an unsettling reminder of what
workers will do to gain the acceptance of their superiors.
Wilson
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the action throughout the play.
Early on, Gus bemoans the dull
sleep-and-work routine of his life,
and various repetitive actions—
from Gus's tendency to run out
matches to his recurring trips to
the bathroom—emerge as the
basis of this cyclical fatigue.
Language, however, is where
Pinter's use of repetition points to
violence and the nearness of
death. Gus almost always has to repeat and rephrase his important
questions to Ben, questions that touch upon darker issues Ben does not
wish to reveal. Ben's mechanical instructions to Gus on how to execute
their murder are repeated by Gus with similar detachment, and when
Ben echoes through the speaking tube his own mission to kill Gus, it
likewise echoes the previous interaction with Gus. Pinter has compared
echoes to silence, and if one views the silences in his plays as indications
of violence, then linguistic echoes and repetitive actions suggest violence
as well.
In this play, characters often repeat a line that the other character has
already said. As equally important, the characters can be seen as
interchangeable, this textual repetition can be found throughout the play
as an indicator of the repetitiveness of live in general. The exact repetition
of the lines each time, along with stage directions reiterates the idea that
the same actions occurs over and over again.
Pinter uses repetition and silence with a violent appeal. Gus wants to ask
Ben something but is interrupted numerous times, and this occurrence
repeats throughout the play.
8- Postmodern Play:
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This shows the class superiority of Ben over Gus. No doubt both of them
are lower class criminals; the senior Ben tries to imitate the aristocracy.
For Pinter speech, as a strategy, is designed to cover the naked silence
with a constant aura of violence and intimidation. Beckettian dialogues,
as Lyotard says, atrophy the real whereas reality is deliberately subdued
by silence and menacing speeches in Pinter.
The impact of off stage character is discernable in The Dumb Waiter and
in Waiting for Godot. In both cases they are powerful and influence the
onstage character. The later Godot presents a neutral God-like character
for which the characters wait, but in the former case Wilson is a
malevolent god whom the characters wait for in violent silence. The Dumb
Waiter carries the Lyotard‘s concept of mininarrative-consisting of one
act, which is a postmodernist characteristic. It does not have formal plot,
character, or action. In The Dumb Waiter the characters read the
newspaper and quarrel for the trivial things whenever they forget the
responsibility bestowed on them by their superficial Boss. Their silence,
mini conversation, attention to command from Wilson and fear for death
make their thought fragmented. They quarrel for the phrase ‗light the
kettle‘. They are engaged to fulfill the orders of sophisticated dishes, made
through the dumb waiter- an elevator connected the upper floor for
transporting food from the kitchen where the two rogues sheltered, in
order to impress their Boss. Though they remember their last victim, a
girl, they do not lament for it. Gus is worried about the order so he asks
questions to his senior Ben about when Wilson will come. The answer is
most predicted he says, ―He might not come. He might just send a
message. He doesn‘t always come‖. At last for them the fragmentation
becomes strategic, they welcome and enjoy. The play ends up when Gus
goes on to the lavatory to get water, at that time the dumb waiter whistles,
Ben listens to it and repeats it loud the order that the man has arrived
and they will be commencing their job shortly. Hurriedly Gus comes out
from the lavatory stripped off clothes and gun. Ben near dumb waiter
poses to kill him and they stare.
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interesting possibilities when viewed in the
light of postmodernism and Pinter is a very
good case of postmodernist writing.
9- Setting:
Is Wilson upstairs?
10- Violence:
The concept of betrayal is also present from the very beginning. When
reading the newspaper, Gus bets that the story that says an eight-year-
old girl killed a cat is a lie. He thinks that probably the eleven-year-old
boy killed it and blamed it on the girl. Throughout the play, the audience
receives several hints about Ben hiding some information from Gus,
which will weaken even more his lower position in the uneven partnership
he forms with Ben. For example, Gus twice says that he doesn't know
what the envelope is, and twice that "no one" and "nothing" were outside.
These last two statements both express an absence—both of knowledge
and of the physical presence—that constitute a type of silence, and Ben's
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repetitive queries try to cover this naked, fearful mystery with extraneous
speech. He later deflects Gus's question referring to who they will
victimize, answering with silence and then ordering Gus to make tea.
11- Intertextuality:
As with “Waiting for Godot”, there are two characters, one dominant, one
submissive, who share the amount of letters and syllables in their names
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(although Pinter's Gus and Ben are simpler names and simpler
characters than Beckett's Vladimir and Estragon).
39
12- Comedy of menace:
Pinter creates a world full of silence and repressed violence; for this
reason, his plays have often been called “comedies of Menace”.
Martin Esslin defined this kind of comedies as “plays which can be very
funny up to the point when the absurdity of the character’s predicament
becomes frightening, horrifying, pathetic, and tragic”.
Dialogues between Gus and Ben: short utterances and repetitions seem
hostile and intimidating.
40
TED HUGHES: POEMS
41
Pike
Pike, three inches long, perfect
42
A pond I fished, fifty yards across,
43
“DAFFODILS”
44
Of their jostled stems, the wet shocks shaken
April by April
Sinking deeper
45
SYLVIA PLATH: POEMS
46
47
DADDY
Ach, du.
My Polack friend
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An engine, an engine
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But they pulled me out of the sack,
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Lady Lazarus
I have done it again.
I manage it——
My right foot
A paperweight,
Jew linen.
O my enemy.
Do I terrify?——
At home on me
I am only thirty.
What a trash
Shoves in to see
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Them unwrap me hand and foot——
Gentlemen, ladies
My knees.
It was an accident.
I rocked shut
As a seashell.
Dying
I do it exceptionally well.
I do it so it feels real.
Amused shout:
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‘A miracle!’
There is a charge
It really goes.
Or a bit of blood
I am your opus,
I am your valuable,
Ash, ash—
A cake of soap,
A wedding ring,
A gold filling.
Beware
Beware.
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Out of the ash
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TONY HARRISON: Poems
Allotments
Choked, reverted Dig for Victory plots
55
The Pole who caught it at us once had smelt
Heredity
How you became a poet's a mystery!
National Trust
Bottomless pits. There’s one in Castleton,
and winched him down; and back, flayed, grey, mad, dumb.
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and killed the language that they swore it in.
(Cornish)—
Book Ends.
Long Distance
Though my mother was already two years dead
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I believe life ends with death, and that is all.
Turns
I thought it made me look more 'working class'
Marked with D.
When the chilled dough of his flesh went in an oven
that kept him down, the tongue that weighed like lead.
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and England made to feel like some dull oaf
Dis Poetry
Dis poetry is like a riddim dat drops
Preaching follow me
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Dis poetry is fe yu an me,
Chant,
In de morning
I chant
In de night
I chant
In de darkness
An under de spotlight,
In Dreadfull Ghettology.
Below me an above,
It goes to yu
WID LUV.
White Comedy
I waz whitemailed
By a white witch,
An white lies,
I slaved as a whitesmith
Whitelisted as a whiteleg
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Some hailed me as a white wog,
Don't worry,
Terrible World
I’ve seen streets of blood
Well interfused
Denying peace
Nobody cared
Civilians starve
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And I think to myself
She died,
Return to Jamaica
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With the folks from immigration
In 13 feet of tape,
Is a little overstanding
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Introductionary Chant
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Earth Cries
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Could it be
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GRACE NICHOLS: Poems:
"Wherever I Hang"
I leave me people, me land, me home
I forsake de sun
So I pick up me new-world-self
De misty greyness
Like beans
Divided to de bone
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My Gran Visits England
My Gran was a Caribbean lady
As Caribbean as could be
Skin Teeth
“Not every skin-teeth
is a smile 'Massa'
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when you ask
again”
Thoughts drifting through the fat black woman's head while having
a full bubble bath
Steatopygous sky
Steatopygous sea
Steatopygous waves
Steatopygous me
to swig my breasts
to scrub my back
to put my soap
profitsome spoke
Steatopygous sky
Steatopygous sea
Steatopygous waves
Steatopygous me
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JOHN AGARD: Poems:
me a simple immigrant
I didn't graduate
I immigrate
is a dangerous one
to split/ up yu syntax
to mash/ up yu grammar
is a dangerous one
on de Oxford dictionary/
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I only armed wit mih human breath
is a dangerous weapon
and if necessary
Born on a sunday
Sold on monday
into slavery
Dropped on friday
Freed on saturday
in a new century
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The New Poetry:
In 1962, the English writer and literary critic A. Alvarez, published The
New Poetry, a poetic anthology in which he joined the work of what he
considered to be the most significant figures of the post-war scene in
Great Britain. The New Poetry was widely read and became extremely
influential.
Alvarez divided his Anthology into two sections: “The Americans” and
“The British” John Berryman, Robert Lowell, Sylvia Plath and Anne
Sexton were the American poets chosen as those worthy of attention, for
they were “able to write poetry of immense skill and intelligence which
coped openly with the quick of their experience, experience sometimes on
the edge of disintegration and breakdown.”
English poets, on the contrary, were still maintaining the stance of what
he referred of as “gentility” the belief that “life is always more or less
orderly, people always more or less polite, their emotions and habits more
or less decent and more or less controllable; that God, in short, is more
or less good.”
“Confessional poetry”:
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The confessional poets were not merely recording their emotions on
paper; craft and construction were extremely important to their work.
While their treatment of the poetic self may have been groundbreaking
and shocking to some readers, these poets maintained a high level of
craftsmanship through their careful attention to and use of prosody.
Themes that had previously and decorously been hidden from society
were confronted by these poets: insanity, suicide, sex, repressed feelings,
were dealt with explicitly. However, what made a poem confessional was
not only its subject matter or the emphasis on oneself, but also the
directness with which the themes were addressed. These poets made an
artifice of sincerity and authenticity by discussing ―real‖ situations and
relationships.
Gender:
Sylvia Plath
Plath felt like a victim to the men in her life, including her father, her
husband, and the great male-dominated literary world. Her poetry can
often be understood as response to these feelings of victimization, and
many of the poems with a male figure can be interpreted as referring to
any or all of these male forces in her life.
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In regards to her father, she realized she could never escape his terrible
hold over her; she expressed her sense of victimhood in "The Colossus"
and "Daddy," using powerful metaphors and comparisons to limn a man
who figured heavily in her psyche.
Her husband also victimized her through the power he exerted as a man,
both by assuming he should have the literary career and through his
infidelity. Plath felt relegated to a subordinate, "feminine" position which
stripped from her any autonomy or power. Her poems from the "Colossus"
era express her frustration over the strictures under which she operated.
For instance, "A Life" evokes a menacing and bleak future for Plath.
However, in her later poems, she seems finally able to transcend her
status as victim by fully embracing her creative gifts ("Ariel"),
metaphorically killing her father ("Daddy"), and committing suicide ("Lady
Lazarus", "Edge").
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Earth cries for something, followed by an explanation for the cries. The
continuous negative phrases are explaining that 'she doesn't cry' and the
reasons, until the last 4 lines where the true reason for the crying is
revealed, builds interest to the readers for why the poem's title is 'earth
cries', and what the reasons are for the title written. No use of
punctuation makes the poem seem like lyrics, with rhythms created,
especially with iambic pentameter that appear quite often throughout the
poem.
She mentions on her work that made her aware of the “difference it
actually made being a woman in the field” and maybe that is what it called
along this poem “the thing”, the difference between biological women
condition and gender troubles.
Grace Nichols
Skin Teeth was published in Nichols’ collection The Fat Black Woman‘s
Poems in 1984 in which Nichols challenges some of the Western
standardized stereotypes of fat, black women. In Skin Teeth, the female
speaker of the poem addresses a slave owner in a rebellious way; her
threat is open and direct.
Thoughts drifting through the fat black woman‘s head while having a full
bubble bath is also part of the collection The Fat Black Woman‘s Poems
(1984) and it is probably its most famous one. Here the fat black woman
speaks in the first person and goes through the official discourses of
science, history, religion and consumer capitalism, mocking them
through the appropriation of a scientific term that was traditionally used
to define and victimize people like her. The narrator of the poem, the fat
black woman, is reflecting upon the word and comparing herself with the
immensity of the sky, the sea and the waves. Thus, she is identifying
herself with nature and the landscape.
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The fat woman’s thoughts reveal how she would like to dismantle this
discourse using her body parts, her “foot” and her “breasts”. In addition,
science and history are also personified, as they have “head” and “face”,
suggesting that, rather than science and history themselves, she is
thinking about the people (= men) that invented these discourses.
Through her description, Nichols makes the readers think that the body
parts of the black woman would easily overpower science’s head and
history’s face, and this is supported by the comparison between the black
woman and the powerful natural elements that she personifies in the first
and the last stanzas of the poem.
Famous for his animal poetry, ted Hughes earned the reputation of being
the first English poet of the “will to live”. His choice of animals as the
themes of his poems is, of course, not without the reverse side of his
desire, as he revealed: “my interest in animals began when I began. My
memory goes back pretty clearly to my third year, and by then I had so
many of the toys lead animals you could buy in shops that they went
right round our flat topped fore place fender nose to tail”.
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and freshness with which he can vitalize a landscape, free of any
mitigating sentimentality."
Animal images are the central focus for Hughes's important mythic
presentations: metamorphosis as an image of the indestructibility of life,
and the god-animal as symbol for creative and destructive forces in
nature.
Thus, speaking in general terms, it can be said that Hughes animal poetry
is based on the Shamanist idea that animals are more powerful and
spiritual beings when compared to man, since they live a totally instinct
based life. Animals are far from limits and social values, thus they are
capable of living their own self true nature and that specialty makes them
powerful and wise. Man, on the other hand, is far from living its own true
nature due to the limitations and social values which block the instincts.
Thus, man is not free, confused, ignorance and lost.
In the opening stanza, the speaker blames her mother for letting the
sinister elements enter into her life from infancy. While the five negative
prefixes ("illbred," "disfigured," "unsightly," "unwisely" and "Unasked")
demonstrate negative elements, the repetition of "Mother, mother"
indicates the speaker's anger and accusations against her mother.
Instead of the presence of a loving mother, the haunting godmothers
present themselves "With heads like darning-eggs to nod / and nod and
nod at foot and head," like singing a distasteful lullaby to the baby. And
they demonstrate a control over the infant by surrounding the cradle.
The speaker then portrays in the second stanza the idealistic childlike
world that the mother wants to establish for the children. The mother
provides the children with a world where there are only imaginative
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heroes and where evil does not exist or is easily dismissed. But the
mother's heroic stories do not expel the evil muses; on the contrary, she
is unable to perceive their presence and powerless to drive them away.
Child
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Many of Plath's poems deal with pregnancy and motherhood. Her
husband, the poet Ted Hughes, believed that maternity inspired her
tremendous development as a poet, especially as seen in the growth from
The Colossus to Ariel. His statement accompanying the latter work said
as much: "...while she was almost fully occupied with children and
house-keeping, she underwent a poetic development that has hardly any
equal on record...the birth of her first child seemed to start the
process...her second child brought things a giant step forward. All the
various voices of her gift came together..." If we stipulate this
interpretation as accurate, then this poem's competing feelings - love and
hope for the child, contrasted with her own anxiety - grows even more
profound.
The first three stanzas outline how Plath cherishes her child and views
him as a perfect creature, uncorrupted by society and civilization. She
hopes to expand her child’s horizons by revealing to him the mysteries
and magic of the world, a veritable ―zoo of the new. She imagines her
young son learning the names of tiny white flowers, and hopes that what
he sees through his ―clear eye‖ is always ―grand and classical. Together,
the first three stanzas are unambiguous expressions of her love, and
unfiltered optimism for his future. When she imagines the world outside
of him, she sees it as a cornucopia of lovely, pastoral experiences.
In the fourth stanza, however, the tone abruptly shifts. She suddenly
suggests that the world also carries with it "this troublous / Wringing of
hands, this dark / Ceiling without a star." The first three stanzas detail
the world as she imagines it for her child. The fourth stanza presents
reality as Plath knows it - an upsetting, anxious, and bleak existence. It
is almost as though, in imagining a lovely life for him, she suddenly
recalled that life is not limitless, but rather defined by limits (a "ceiling")
and pain. Further, there is an implication that she herself could be the
cause of the pain, as though her own emotional instability might inspire
him towards his own anxiety. The contrast is harsh and unambiguous,
as threatening as the first stanzas are promising.
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person's perception is as yet unspoiled by a knowledge of the world it
must live in." Plath hopes she can fill her child's life with positivity, but
"this is an embattled love and beauty, hemmed in and threatened on all
sides." In other words, the most painful feeling is the possibility of
positivity, since it brings the strongest reminder of the pain she was
feeling. Considering the poem from this angle, it holds an impressively
profound set of emotions, especially considering its brevity.
Daddy
Who is the speaker, can she or he read minds, and, more importantly,
can we trust her or him? Usually we're super-strict about keeping the
speaker of a poem separate from the author of a poem. After all, poets
often create fictional personas who they imagine to be speaking their
work – not everything they write down is what they personally believe.
But the line between the real-life Sylvia Plath and the speaker of "Daddy"
is blurry. Plath's poetry is usually considered to be part of the
Confessional movement, and "Daddy" certainly reads like a personal
confession. Plath's father was a German immigrant, like the father in the
poem. He died when she was young (eight years old), though not quite
the same age as in the poem (ten years old). Plath, similar to the speaker
in the poem, tried to commit suicide. Plath was married to her husband
for about seven years when she wrote this poem, and the speaker's
husband sucked her blood for seven years. Despite these similarities, the
speaker in this poem is different from Plath, as the characters of the
speaker's father and husband are different from Plath's own father and
husband. She has made herself, and them, into characters. Common
sense and fact tell us that Plath's father was not really a Nazi, and her
husband was not a vampire. We can guess how Plath may have felt about
her husband and father, but we shouldn't take anything about her
relationships with these two men as fact from this poem. Sure, this poem
may reflect how Plath felt at the moment she was writing this poem, but
it would be unfair to make generalized conclusions about her
relationships from it. One of the main benefits of writing poetry rather
than, say, a memoir, is that it doesn't have to be non-fiction. You can
stretch the truth in poetry, as Plath does in this poem. The speaker is a
persona that Plath created so that she could write a poem that may be
based on her life, but isn't trapped by having to stick to the literal truth.
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Besides, if this poem were simply autobiographical, we'd miss out on all
the other cool meanings that it could have – like "Daddy" being a
metaphor for men in general, or a symbol of evil in the world. So, now
that we know the speaker is different from Plath, well, who exactly is she?
She's a tortured woman, who lost her father when she was so young that
he seemed huge and powerful, like God. Memories of him have caused
her pain – they've made her want to die. When dying doesn't work, the
speaker tries to find a husband just like her father. Her playful rhythm
and rhyme juxtapose with the desperation and violence of her language,
to make her words poisonous to these two men and their power over her.
This poem is like a stake in the heart of her disturbing memories – by the
end of the poem, she has killed them.
Lady Lazarus
The speaker is obsessed with death, both literal and figurative. She's
attempted to commit suicide in the past, and she keeps playing out
scenarios in her mind in which she's a victim of the Holocaust. Lady
Lazarus is not in a good mental place in the poem, that's for sure.
Who is the speaker, can she or he read minds, and, more importantly,
can we trust her or him? The speaker of "Lady Lazarus" is Lady Lazarus
herself, and in that sense, this poem almost reads like a monologue.
Her name references the figure of Lazarus from the Bible—a man who
died and was resurrected by Jesus. But there's no Lady L in the Bible;
our Lady is Plath's creation.
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Lady L is a whole lot like Sylvia Plath, who committed suicide not long
after writing the poem by sticking her head in a gas oven.
Lady Lazarus is one powerful lady. Despite all of her suffering, she seems
to have serious control over the one thing that matters most to her—her
language. She may often feel like a victim, but her words have serious
bits. She ends the poem by "eat[ing] men like air."
Violence:
Ted Hughes:
Some readers have led to believe that the author's intention in writing
poems as Hawk Roosting was to glorify violence, or at least to make
violent behavior acceptable. Hughes answered this charge directly in a
1971 interview. "Actually what I had in mind was that in this hawk
Nature is thinking. Simply Nature. It's not so simple because maybe
Nature is no longer so simple." Whether or not the poem expresses
approval of the behavior that its speaker describes is debatable; a strong
argument may be presented for each viewpoint.
Hughes in his very childhood (when he was only seven) experienced the
violent ferocity of nature when his family moved thirty miles south-east
to Mexborough. There Pennine hills and the wild moorland above
Mytholmroyd strongly influenced his creative imagination. In the poem
―Wind‖, he depicts the dark and violent role of nature. Wind, like a
demonic force, destroys and demolishes everything. It stampedes down
―the fields under the window‖; it leaves ―the woods crashing through
darkness‖ and the hills ―booming‖. The primitive nature of wind becomes
more prominent when the poet shows how it flings a magpie away and
how a black-back gull bends slowly like an iron bar.
Violence is nowadays part of our very existence since from the morning
till night we are the subjects and objects of violence. We come across
violence on our TV sets, on streets, in societies, in states, in countries,
and above all on the entire earth. Through violence we have destroyed
the beauty, innocence, and order of nature.
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imbalance in nature and suggests the ways of restoring them and making
the world a better place. In doing so he brings about the core cause of
cacophony and catastrophe in nature, which is without any doubt
violence. Hughes just manages to harmonize in his poetry myriad forces
existing in nature to retain truth, beauty and purity. ―To redress some
balance disturbed by human error‖ he brings his poetic world alignment
with unalloyed natural primitiveness. One can note that the jaguar‘s
indomitable spirit or the pike‘s cannibal nature or the bear‘s omnipotent
character or the hawk‘s godlike power just vibrates life, regenerates the
rotten conscience, brings purity in nature, and celebrates unbound
freedom which nature once enjoyed. Thus, his violence is of creativity and
beauty. Violence in Hughes ‘poetry amounts to energy, vigor and an
intense impulse of creation. An obituary on Hughes published in The
Sunday Times mentions that the forcefulness and animal vitality of his
poems injected new life into English poetry (unnumbered). Verily, Hughes
is widely read and will be read most particularly for his animal poems
expressive of an emblem of the ferocity of his own poetry, a vivid vitality
in all forms, and obviously an indomitable violence in all forces of
primitivism.
Sylvia Plath
One common theme is the void left by her father's death. In "Daddy," she
goes further in claiming that she wants to kill him herself, finally
exorcising his vicious hold over her mind and her work.
Benjamin Zephaniah
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Louis Armstrong’s song -What a Wonderful World- ‖ is parodied by
Zephaniah in a humorous work of intertextuality called Terrible World.
The poem pictures the author’s ironic vision of the world he has
experienced in first person in terms of police brutality, gender violence
and poverty: In 2nd stanza we see a whole example of children abuse by
pimps and priests and the third stanza deals more with poverty, rape,
death… Especially in its last two lines where death and poverty are
associated. Last stanza speaks about civilians‗ starvation while a lot of
many is invested in military troops.
The most striking element in The Death of Joy Gardner are the facts in
themselves. The author reports the true story of the arrest and death of
a woman immigrant in hands of the police. The image of her son watching
TV while the death of her mother is happening a few meters away shows
the cruelty of the event.
The irony comes to its highest in lines 5, 6, 7, ―She died, nobody killed
her, and she never killed herself‖. How can someone die without
committing suicide or being killed? This could be understood as an
accusation to the ones responsible of her death who were not found
guilty.
The first group who write poetry following rules, principles and standards
accepted as axiomatic of this field (canonical.) Their poetry is targeted to
a reader with a middle/high class education. In the first group in this
unit we have studied Ted Hughes, Sylvia Plath and Tony Harrison.
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Symbolism:
Pike: Different perspective of the predator fish and the natural word lead
to the realization of how human beings have been wrongly imposing their
own vision of the world of animals.
Daffodils: He remembers his past with his wife. Pessimist poem: the
daffodils are the past life that he didn‘t value while he was living it. The
scissor: an anchor to his misery and the cross he has to bear, a metaphor
of the lost marriage.
Lady Lazarus: a male figure, a Nazi, God, Lucifer, symbol of male cruelty,
men’s value system and male god. She is “Jew linen”. The poem can also
be understood as a symbol of female artist’s struggle for autonomy in a
patriarchal society, the statement on how the powerful male figure
usurps Plath’s creative powers but is defeat by her rebirth.
Book Ends: is an extended metaphor about him and his father – although
they are similar they are far apart. It is structured into 2 lines rhyming
couplets to emphasis he and his father as a pair.
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The use of the vernacular in contemporary British poetry:
Tony Harrison: While using the tools of classic poetry he also uses his
own dialect, in order to deal with the connection between language and
power, that is, the way the ruling class keeps the working class in line
through culture, language and accent.
The underlying thesis of his poetry is that by ―owning‖ the language the
ruling classes have managed to maintain their social supremacy; the poet
has therefore taken up the task of speaking for those who cannot speak
for themselves (including the low-class social environment and family
where he grew up). He blends formal English with colloquial expressions,
words and accent from Leeds. He not only includes but celebrates
northern speech.
Multicultural poetry:
Postcolonial poetry:
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case and identifies with the oppressed lower classes, as in his poem “On
Not Being Milton”, where oppression hinges on the lack of articulateness
and the lower class has been rendered powerless by the English ruling
class, or in ―Them and [uz]‖ that deals with the way the ruling class keeps
the working class in line through culture, language and accent. In his
poem “Book Ends” we can observe how the distance between lower and
middle class has a reflection in the relationship with his father.
Fred D’ Aguiar and Grace Nichols are two of the most important
representatives of postcolonial poetry. Both draw on their early Guyanese
childhood experiences and the loss of innocence, exploring the recurrent
themes in Caribbean literature of alienation from a metropolitan society.
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an epidemic, second class citizens that are not even allowed a decent
burial. In other poems D’ Aguiar’s voice changes to celebratory and
sentimental, because he feels that England is now his home. His nine
“Sonnets from Whitley Bay” are sad and sensual, and transmit a genuine
feeling of belonging.
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is especially interesting, since he discusses multi-cultural Great Britain,
and shares his reflections on identity, and being Black in this country.
Jean “Binta” Breeze is the first woman to write and interpret Dub poetry.
Among other themes, she deals with the problems of immigrants in
Britain, gender and race trouble.
Nichols is the most well-known woman poet from the Caribbean. Slavery
and racism are some of her more prominent themes. Her series of poems
I is a long memorized chronicles the lives of black women who survived
the passage from Africa to the New World and the Caribbean and is told
from the perspective of a female slave. In “Skin Teeth” the female speaker
addresses the slave owner. The tone is rebellious and her threat is open
and direct. The speaker in this poem seeks to fight back the oppressor
that enslaves her due to the color of her skin. In her second poetry
collection, The Fat Black Woman’s Poems, she confronts the western
beauty canon, challenging racist and sexist stereotypes by reminding us
in poem after poem that to be beautiful, a woman does not necessarily
have to be thin and European. In “Thoughts drifting through the fat black
woman” head while having a full bubble bath” from that collection, her
fat black woman longs to be able to physically confront her oppressors
using her body to do so. The use of the word “steatopygous” is ingenious,
as it achieves two things: it increases the humorous tone of the poem,
and is highly allusive, because steatopygia is “an excessive development
of fat on the buttocks among some black women.
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post-colonialism and postmodernism share. I will proceed to list them
and provide examples from contemporary British poets that include
multicultural and confessional poets, along with post-colonialist poets.
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to teach Crow human skills and emotions and change his selfish nature.
But he fails in his efforts, and the Trickster haughtily invents his own
Theology. By creating the quasi-human figure of Crow, Hughes explores
the human psyche.
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has to come to terms with its brutal past in many of its colonies. In that
way, Zephaniah wants to break up with the idyllic notion of Britishness.
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