Poems

‘That’s my last duchess’

‘That’s my last duchess’

The possessive pronoun 'my' exaggerates the idea of control. Even in death, the Duke has power over his former wife. Plus, the demonstrative determiner 'that cements the idea of objectification.

‘Sit and look’

Not only does the Duke control his former wife, but he also physically controls his guest. Through the imperative verbs, the Duke orders and commands his guest through a tour of his art gallery.

‘Notice Neptune…taming a seahorse’

The imperative verb notice' shows the control the Duke displays over his guest. A classical allusion can be made between Neptune and the Duke. These violent figures tamed a sea-horse' and a wife through aggression. Yet, ironically, the Duke could only gain power over his wife through death

My last duchess: dramatic monologue

The use of dramatic monologue allows the Duke to reveal his controlling and arrogant nature

My last Duchess: enjambment

The use of enjambment creates a natural, conversational tone which masks the sinister undertones

of the Duke's character.

‘The chartered Thames does flow’

Although the word 'flow' has connotations of freedom, the idea of the natural world being controlled ('charter'd) creates a sense of oppression. Even though the Thames appears to be free from the constraints of man, it is another victim of mankind's power and control.

‘in every’

The consistent reference to 'in every' underscores that nobody is free from the impacts of poverty corruption, and industrialisation. This repetition shows that suffering is universal in the city,

‘Blackning church’

Whereas the church should be a symbol of hope and compassion, the church is presented as hypocritical. Whereas Jesus is associated with the light, the church is 'blackning' with corruption. It is a symbol of moral decay, and reflects its failure to provide moral and spiritual support

‘Marriage hearse’

The oxymoron links the concepts of marriage and death. The family was a key pillar in Victorian Britain, yet it is being corrupted by immorality (including sexually transmitted diseases through prostitution from the 'youthful harlot' who 'blights with plagues')

London: ABAB rhyme scheme

The consistent ABAB rhyme scheme mirrors the relentless, oppressive atmosphere of the city.

London: Repetition

The use of repetition ('marks', 'every') reinforces the sense of entrapment and despair.

‘We are prepared’

The poem begins with a tone of confidence (collective pronoun 'we') as the islanders believe themselves to be ready for the impending storm. Yet, the poem later reveals that this confidence is arrogance as the storm's power is overwhelming, highlighting the vulnerability of the community.

‘Pummels’

The vivid, aggressive verb conveys the relentless force with which the storm assaults the island. The connotations of violence presents the storm as the attacker, with the islanders as the victims.

‘Exploding comfortably’

The oxymoron captures the juxtaposing nature of the storm. Whereas 'exploding' has connotations of violent, uncontrollable forces, the word 'comfortably' has connotations of ease. The power of the storm is amplified by the speed and nonchalance with which the natural world can become violent.

‘Spits like a tame cat turned savage’

The simile presents the storm as typically calm, like a domestic cat. Yet, the transformation between cat and vicious lion reflects the sudden, uncontrollable power of the storm. The sea, which can be tranquil and calm, shifts into violent and dangerous.

Storm on the island: blank verse

The use of blank verse mirrors the conversational tone of the islanders who, arrogantly, are calm in the face of the storm.

Storm on the island: enjambment

The use of enjambment reflects the uncontrollable and continuous power of nature, with lines flowing into each other as the storm rages on.

‘sneer of cold command’

The arrogance and tyranny of the ancient ruler is shown through his lack of compassion. Through his quest for power, he demanded obedience. However, although this facial expression is shown in the statue, his empire has crumbled showing the futility of human power.

‘Pedistal’

The pedestal is the base upon which the statue is built. Symbolically this pedestal is a symbol of Ozymandias' desire for power, and his hubristic belief that he expects immortality.

‘King of kings’

Not only does Ozymandias believe himself to be superior to all other kings, but there are also several places within the New Testament in which Jesus is referred to as 'king of kings'. Through the inscription on the pedestal, Ozymandias directly compares himself to Jesus

‘Lone and level sands’

The reference to 'level' highlights the flat, unchanging landscape, symbolising the insignificance of human achievements compared to nature. The image of 'sands' not only refers to nature but also time. Both the powerful and powerless will all be erased and eroded by time eventually.

Ozymandias: sonnet

The sonnet form is typically associated with love. In this case, the sonnet is used ironically to present Ozymandias' arrogance and narcissistic manner, and mock human hubris.

Ozymandias : enjambment

The use of enjambment allows the sentences to flow into different lines. This reflects the fluid passage of time, and how the achievements of Ozymandias are gradually eroded by nature. It shows that nothing, not even the most powerful rulers, can withstand the forces of time and decay.

‘Sunlight clear’

The motif of light exaggerates the beauty of the speaker's city. This reference to light juxtaposes with the idea of darkness ('shadow', 'dark'). The speaker's emotional attachment remains bright and unclouded

‘Sick with tyrants’

The use of 'sick' suggests both a physical and moral decay, implying that the once-beloved place has been tainted by tyranny, which contrasts with the speaker's idealised memories of the past. The city has become corrupted by oppression

‘My city hides behind me’

The use of the possessive pronoun 'my' cements the bond that the speaker has with her homeland. However, the sense of survivor's guilt is highlighted as it becomes obvious that the speaker feels she has abandoned her homeland at a time when it most needed protection.

‘They circle me’

The collective pronoun 'they' creates the idea of power, with the speaker becoming trapped within her feelings of guilt. The idea of tyranny is exaggerated with reference to being imprisonment and oppressed within the circle.

The Emigree: Time

The shift between past and present depicts the tension between nostalgia and displacement.

The emigree: stanzas

Despite the chaotic nature of the speaker's life, the stanzas are regular and consistent. This reflects the firm attachment the speaker has towards her memories which, symbolically, are the foundation upon which she builds her life.

‘ Mersiless iced east wind’

The power of the wind is intensified through the use of multiple adjectives, amplifying its strength and harshness. Additionally, the 'east wind' may symbolically refer to Eurus, the Greek god of the East Wind, known for his vicious and bitter nature, further alluding to the wind's ferocity.

‘Eyes are ice'

The phrase metaphorically conveys the soldiers' emotional numbness and physical exhaustion. Their humanity is slowly being lost, and they are transforming into desensitised machines due to the psychological toll of war

‘Dawn massing… her melancholy army’

Typically, 'dawn' is ameliorated as hopeful and warm. Yet, in war, 'dawn' is personified as a vicious war leader. Also, the traditional gentle connotations of femininity are destroyed with the feminine pronoun 'her' being associated with destruction rather than creation.

‘Flowing flakes that flock’

The alliterated phrase portrays the relentless and fierce nature of the icy blasts, emphasising their unyielding intensity. The dynamic verb flowing' suggests a ceaseless, predatory force, continuously assailing without respite.

Exposure: cyclical structure

The repeated refrain of but nothing happens' creates a sense of futility and stagnation. It emphasises the monotony of war.

Exposure: pararhyme

The use of pararhyme ('knive us', 'nervous') creates a sense of unease and tension. The incomplete rhyme mirrors the lack of resolution the soldiers feel in war.

‘Blazer’

Initially, the clothing symbolises the school uniform her son wore in childhood, evoking memories of innocence and youth. However, it now signifies the military uniform he weres as a grown man,Marking his transition from boyhood to adulthood.

‘Gelled blackthorns ‘

The use of the boy's hair is used to foreshadow the experience of pain. The mother recognises that her son will be enveloped in war and violence (even through the motif of hid hair),and yet is powerless to protect or bandage him.

‘Bandaged ‘

In conflict, bandages are used to physically protect and heal a wound. In this case, the mother bandaged her own hand in ‘sellotape ‘ to protect herself emotionally and attempt to regain control over her ‘softening ‘emotions.

‘Turned into felt ,slowly melting ‘

The use of enjambment between ‘felt ‘ and ‘slowly ‘ cements the idea that the mother's émissions are spiralling out of control,from one stanza to the next. Using semantic field of textiles and fabric, the mother's emotions transform from ‘steeled ‘ to grief and longing.

Poppies: Time

The shifting time frames allows the speaker to blend memories between past and present. This create a non - linear structure and reflects the mother's emotional turmoil.

Poppies: caesura

The pauses and interruptions highlights the speaker's thoughts as she grapples with her feelings of loss and remembrance.

‘Dem tell me ‘

The collective pronoun ‘dem' exaggerates the power of the British education system. Yet ,the use of Caribbean dialect underscore the speaker's cultural identity and résidence to the imposed history.

‘De Cow who jump over the moon ‘

the reference to the ‘cow ‘ mocks the trivality of nursery rhymes taught IN the speaker's colonial education. By juxtaposing these frivolous tales with the important yet omitted histoires of black figures (Mary Seacole),the speaker highlights the absurdity of what was deemed worthy of learning.

‘Healing star’

The star imagery evokes light and direction, suggesting that learning about one's true history and heritage can heal the wounds of a colonial education. Just as Mary Seacole healed those around her, the poem can heal the scars of the past.

'carving"

This aggressive verb suggests the process of rediscovering a past history required active energy, just like carving into something solid to reveal deeper truths beneath the surface. The speaker urgently wishes to reconstruct his past.

Checking out me history:Rhyme scheme

The free verse structure, with its irregular rhyme, reflects the speaker's refusal to be controlled by the rigid, Eurocentric narrative.

Checking out me history:Punctuation

The absence of punctuation creates a flowing, natural rhythm which symbolises the speaker's reclaiming of a more inclusive, unconfined version of history.

'small circles

glittering idly'

The quotation has connotations of light, beauty, and a sense of calm. This moment represents the speaker's initial perspective of nature being gentle and passive. This quotation is then dichotomised with the later threatening image of nature.

'struck and struck again'

The repetition conveys a sense of panic and urgency as the poet rows furiously to escape the overwhelming sight. The physical exertion illustrates the speaker's fear and desperation.

‘huge peak, blackand huge ‘

The simplicity of the phrase, lacking poetic embellishment, mirrors the poet's stunned reaction and inability to fully comprehend what he sees. This quotation marks the turning point in the speaker's perception of nature, from gentle beauty to raw power.

'hung a darkness'

The lasting psychological impact of the encounter with the 'huge peak' leaves an oppressive and lingering mark on the speaker's mind. The 'darkness' also represents a shift in tone, as the memory of the event overshadows the poet's initial joy and freedom.

The prelude:Enjambment

Enjambment is used to mirror the fluidity of the boat's motion and the natural rhythm of the rowing The enjambment also reflects the overwhelming rush of emotions experienced by the boy.

The prelude :Blank verse

Written in unrhyme iambic pentameter, the lack of regular rhyme scheme mirrors the natural flow of speech and thought. Also, the lack of rhyme reflects the unpredictability of nature, aligning with the theme of raw and untamed power.

'jaws of death'

This metaphor personified death as monstrous and inescapable. Tennyson references Shakespeare's Henry V ' into the jaws of death, into the mouth of hell' to describe the courage of the soldiers charging into death, a beast which devours life.

'horse and hero'

This phrase pairs the animals and soldiers together, symbolising their unity and shared sacrifice as they charge. Although they die, their lives are immortalised as mythological figures. The aliteration of the’ h' iS rhythmic and highlights their courage.

'storm'd at with shot and shell'

The imagery of the 'storm' conveys the chaos and violence of the battlefield, likening the cannon fire to an uncontrollable natural force. The use of sibilance evokes the relentless barrage, demonstrating the sensory intensity of the attack.

"blunder'd'

This word directly references the tactical mistake that led to the charge, underlining the tragedy of the mission. Its abrupt, monosyllabic nature criticises the human error behind the soldiers' sacrifice

The charge of the light brigade:Repetition

Tennyson uses repetition throughout the poem to emphasise the relentless pace and inevitability of the charge. It mimics the galloping of horses and the forward motion of the soldiers. The relentless beat mirrors the soldier's unwavering commitment to their mission.

The charge of the light brigade:Stanza length

The shorter stanzas, like the sixth, focus on the reflective tone of remembrance by slowing the pace and emphasising their sacrifice. Whereas the longer stanzas, such as the third, are filled with vivid action and detail, creating a sense of chaos and urgency.

‘Yellow hare’

Classically, the hare as a symbol of vulnerability and fear. They were frequently depicted as prey, embodying innocence and the fragile balance between life and death. Yet, in war, the colour 'yellow ‘is a symbol of decaying innocence

'sweating like molten iron'

The simile conveys the intense physical strain of the soldier. His sweat becomes a metaphor for the soldier's dehumanising transformation into a machine of war. The comparison to 'molten iron' suggests extreme heat and pressure, symbolising the soldier's internal turmoil.

'shot-slashed furrows'

This violent imagery describes the as scarred and wounded, likening the earth to a victimbattlefield of war. The personification of the landscape underscores the brutality of conflict, highlighting its capacity to damage not only people but the environment v.

‘blue crackling air’

The 'crackling' suggests an atmosphere alive with danger, reflecting the soldier's heightened fear and anticipation of violence. Through the connotations of 'blue', even the 'air' represents emotional detachment in war.

Bayonet charge :Enjambment

The enjambment mirrors the chaotic and disjointed experience of the solder which creates a sense of urgency and disarray.

Bayonet charge: ‘Irregular line

lengths’

The poem's irregular line lengths and punctuation disrupt the rhythm and stability. This mimics the soldier's erratic progression and inner turmoil.

'probably armed, possibly not'

This refrain captures the speaker's moral uncertainty, reflecting the internal conflict between duty and cconscience.The hesitation in the phrasing underscores the lasting psychological burden of not knowing whether the act of killing was justified.

‘blood shadow’

The metaphor suggests the lingering physical and emotional stain of the act of killing. The 'shadow symbolises the inescapable and haunting presence of guilt. War leaves permanent marks, both on the environment and on the psyche.

'distant, sun- stunned, sand- smothered land'

An oppressive atmosphere is created with 'distant' suggesting emotional detachment and 'sand- smothered' evoking suffocation. This conveys the disorientation and alienation of the battlefield emphasising the soldier's struggle to process his trauma,

'bloody life in my bloody hands'

The repetition of bloody' conveys both literal bloodshed and the speaker's anger or frustration at their own guilt. The phrase alludes to Macbeth's guilt-laden lament drawing a parallel to the inescapable burden of guilt in taking a life.

Remains: Enjambment

The use of enjambment reflects the fragmented and continuous flow of the speaker's memory. This mirrors the relentless and haunting nature of his experiences

Remains:Time

The poem shifts from past tense to present tense marking the psychological trauma that haunts the solider. The structural shift blurs the boundaries between memory and reality.

'a priest’

Both professions deal with life and death daily. This religious imagery elevates the photographer's role, highlighting the moral weight of his work ('to do what someone must') and the reverence With

which he approaches his task

'half-formed ghost’

The developing photo evokes the haunting and incomplete nature of the war victim's memory, caught between life and death. The ghostly image symbolises both the fragility of human life and the consistent presence of trauma in the photographer's mind, haunted permanently

'ordinary pain’

The juxtaposition of ordinary' with 'pain' compares the insignificant struggles of everyday life with the extreme suffering of those in war zones, This phrase highlights the disconnection between the comfort of peaceful societies and the unimaginable lives of those in war.

'between the bath and pre-lunch beers’

The casual, domestic imagery contrasts sharply with the horrors of war, emphasising the detachment and indifference of people in 'rural England'. They are safe from any suffering in their everyday routines.

War photographer:ABBCDD rhyme

scheme

The four six-line stanzas have a consistent rhyme scheme (ABBCDD). The chaos of war is contrasted by the photographer's attempt to impose order and control through the rigid structure

War photographer:Juxtaposition

There is a structural juxtaposition between the calm domestic setting of the darkroom and the chaos of war zones. This emphasises the disconnection between the photographer's dual realities.

‘lets the light shine through ‘

This metaphor represents clarity, truth, and the divine, suggesting the power of transparency to light up understanding. This power and transcend human constructs like paper or authority. The lightsymbolises an enduring force, greater than human-made systems.

'back of the Koran'

The reference to the holy text highlights the cultural and spiritual significance of paper as a medium for preserving beliefs and histories. It also suggests that even sacred, revered things are fragile and transient, reinforcing the poem's theme of human constructs being subject to time and change

'their borderlines’

This quotation critiques human-made divisions, such as borders on maps, which are insignificant compared to the broader context of nature and the universe. The poet implies that these divisions are fragile, temporary, and ultimately powerless against forces like sunlight or human connection.

'turned into your skin'

The transformation of paper into skin symbolises the intimate connection between human life and the constructs we create. It suggests that our identity and history are deeply interwoven, emphasising the fleetingness of existence and the importance of community.

Tissue: free verse

The poem is written in free verse with frequent enjambment. This structure mirrors the fluidity and interconnectedness of the human and natural worlds.

Tissue: stanza length

The poem is composed of short, fragmented stanzas, often just a few lines long. This reflects the delicate nature of tissue as a material, a metaphor for the fragmented aspects of human existence.

‘Sunrise’

The quotation symbolises the beauty of life contrasting with the duty of a kamikaze pilot to face death. Also, the Japanese flag is referred to as the Land of the Rising Sun, emphasising national pride and the expectations of sacrifice

‘Huge flag’

This metaphor suggests patriotism and the overwhelming presence of nationalistic duty. The reference to 'huge' emphasises the weight of this burden. Even the surrounding landscape shows that the pilot cannot escape the weight of patriotism

‘Dark prince’

In Japan, the tuna fish is sacred. Even the consumption of tuna is connected with a sense of gratitude for nature's sacrifices. This aligns with the Japanese concept of mottainai, which emphasises not wasting resource. Yet, ironically, the culture is willing to sacrifice the pilot's life.

‘The better way to die’

This poignant quotation captures the pilot's internal conflict due to the societal judgment he faces for returning home. It reflects the tragic irony that, in failing to die in war, he is metaphorically dead to his family and community.

Kamikaze: narrative

The poem shifts from third-person narration in the opening stanzas to first-person narration at the end. Just as the daughter detached from the father, so too does the narration.

Kamikaze: free verse

The lack of strict structure reflects the fluidity of memory and the uncontrollable consequences of the pilot's choice. It evokes the endless power of the sea, a central motif in the poem