All 16 poems key quotes: English Literature IGCSE EDEXCEL

IF - mental resilience

"If you can keep your head when all about you / Are losing theirs and blaming it on you"

Contrast - between the calm speaker and the chaotic others.

Alliteration - "keep your head" creates rhythm and emphasis.

Imagery - evokes a crisis or moment of panic.

IF - self belief and humility

"If you can trust yourself when all men doubt you, / But make allowance for their doubting too;"

Paradox - trusting yourself while also accepting others' doubts.

Juxtaposition - internal confidence vs. external skepticism.

Balanced structure - reflects emotional balance and maturity.

IF - integrity

"If you can wait and not be tired by waiting, / Or being lied about, don't deal in lies"

Repetition - "waiting" emphasizes patience.

Anaphora - repeated use of "If you can..." builds rhythm and structure.

Moral juxtaposition - stay truthful even when lied to.

IF - Emotional Control

"If you can meet with Triumph and Disaster / And treat those two impostors just the same;"

Personification - Triumph and Disaster as "impostors."

Capitalization - emphasizes the weight of these abstract ideas.

Metaphor - both outcomes are deceptive, not defining.

IF - ideal of manhood

"Yours is the Earth and everything that's in it, / And—which is more—you'll be a Man, my son!"

Hyperbole - "the Earth and everything that's in it" shows the vast reward.

Climax - culmination of all previous stanzas' advice.

Direct address - "my son" makes it personal and moral.

PBB - threat

"I am not yet born; O hear me."

Anaphora - introduces the repeated structure of the poem ("I am not yet born").

Direct address - "O hear me" creates a pleading, urgent tone.

Paradox - a voice from the unborn child, which immediately evokes tension and vulnerability.

PBB - corrupting power of humanity

"Let not the man who is beast or who thinks he is God come near me."

Juxtaposition - "beast" and "God" represent two extremes of human danger.

Metaphor - "beast" and "God" as symbolic of violence and tyranny.

Irony - humanity becomes monstrous or deluded with power.

PBB - longing for safety

"Provide me / With water to dandle me, grass to grow for me, trees to talk to me, sky to sing to me."

Personification - trees "talk," sky "sing," nature is nurturing and alive.

Alliteration - soft "t" and "s" sounds create a gentle, lyrical rhythm.

Natural imagery - contrasts the unnatural cruelty of the man-made world.

PBB - fear of manipulation

"I fear that the human race may with tall walls wall me, / with strong drugs dope me, with wise lies lure me..."

Alliteration - "with tall walls wall me" and "wise lies" emphasize rhythm and oppression.

Repetition - of "with" structures heightens the overwhelming sense of control.

Irony/Oxymoron - "wise lies" critiques propaganda or misleading authority.

PBB - fear of losing humanity

"Let them not make me a stone and let them not spill me. / Otherwise kill me."

Metaphor - becoming a "stone" = emotional or moral deadness.

Juxtaposition - between spiritual death ("stone") and physical death.

Blunt diction - "kill me" is jarring and final, emphasizing desperation.

Blessing - theme of poverty

"The skin cracks like a pod. There is never enough water."

Simile - "cracks like a pod" vividly conveys the dryness and desperation of the people's skin.

Imagery - evokes a powerful visual of thirst and drought, adding to the sense of deprivation.

Alliteration - "never enough" emphasizes the chronic shortage and longing.

Blessing - scarcity -> abundance

"A roar of tongues is heard, a voice / will sound as the water spills over the side."

Personification - the "roar of tongues" and "voice" lend human qualities to sounds, suggesting a collective voice or communal cry.

Imagery - "water spills over" creates a vivid picture of a sudden, overflowing abundance.

Symbolism - water symbolizes life, renewal, and communal support.

Blessing - unexpected blessings in life

"And then the sudden rush of the water, / the stream of joy."

Juxtaposition - contrasts the previous drought with the "rush" of water, symbolizing relief and change.

Metaphor - "stream of joy" equates the flow of water to emotional or spiritual renewal.

Alliteration - "sudden rush" emphasizes the force and immediacy of the change

Blessing - gratitude

"The blessing / is so great it is impossible to grasp."

Hyperbole - "so great" exaggerates the overwhelming nature of the blessing.

Paradox - "impossible to grasp" reflects how a blessing, despite being tangible (water), transcends human understanding or control.

Juxtaposition - the enormity of the blessing contrasts with the previous poverty and deprivation.

Blessing - recognize daily blessings

"The water that runs from the tap, / the gold of the sun."

Metaphor - "the gold of the sun" elevates the sun's natural light to something precious, like gold.

Alliteration - "water that runs" creates fluidity, enhancing the idea of abundance.

Symbolism - both the water and sun symbolize life, nourishment, and prosperity.

SFMT - struggle for cultural identity

"You can't hum a song you haven't heard."

Metaphor - "hum a song" symbolizes expressing or identifying with something you have not experienced or absorbed.

Colloquial language - "You can't" makes the statement feel more direct and personal.

Imagery - the concept of a song emphasizes a cultural or emotional connection that's hard to recreate without the background.

SFMT - conflict between identities

"I ask you, / what would you do if you had two tongues in your mouth?"

Rhetorical question - engages the reader to think about the complexity of bilingual or multicultural existence.

Symbolism - the "two tongues" represent conflicting languages or cultural identities.

Direct address - "what would you do" makes the question personal and interactive.

SFMT - loss of identity

"I thought I had lost my tongue / in the strange mouth of the school."

Metaphor - the "strange mouth of the school" symbolizes the alienation or disconnection the speaker feels in an environment where her native language is not accepted or valued.

Personification - the "mouth of the school" makes the institution seem like an active, consuming force.

Imagery - the "lost tongue" evokes a feeling of cultural disintegration and personal loss.

SFMT - recovery

"It grows back, a stump of a thumb / of a tongue / I didn't know I had lost."

Imagery - "stump of a thumb" evokes a vivid picture of something incomplete or cut off, symbolizing a lost part of the self.

Metaphor - the "tongue" growing back suggests recovery, but also something changed, something less complete.

Juxtaposition - between the loss and the gradual return of the tongue, highlighting the tension between forgetting and reclaiming one's native language.

SFMT - erasure of native language

"It's as if / I never spoke it, / I never / ate or slept it."

Repetition - "I never" emphasizes the feeling of complete disconnection or estrangement from the native language.

Contrast - "ate or slept it" suggests that language is as fundamental and natural as the act of eating or sleeping, emphasizing its intimate relationship with the speaker's identity.

Metaphor - equating language with nourishment highlights how deeply ingrained language is in one's life and sense of being.

HP2 - childhood innocence

"Once upon a time there was a boy / Who lived in a house where there was a clock."

Fairy-tale opening - "Once upon a time" immediately establishes a childlike tone, evoking the idea of a fable or story.

Simple diction - The language is straightforward, mirroring the innocence and simplicity of a child's world.

Enjambment - The line runs into the next, reflecting the fluidity of the boy's experience and his relationship with time and rules.

HP2 - childhood confusion

"He knew / He was meant to do something but he didn't know what."

Repetition - "He knew" and "he didn't know" emphasize the confusion and uncertainty of the child's experience.

Ambiguity - The lack of specificity about what the boy is meant to do reflects his childlike sense of disorientation in the world of adults.

Anaphora - Repeating "he" at the start of the sentences creates a sense of rhythm, mirroring the boy's internal confusion.

HP2 - time

"Time was different. / When you're little, / Time is what you tell yourself."

Direct address - The line "When you're little" speaks directly to the reader, making the child's experience more relatable.

Juxtaposition - The contrast between the way adults view time and how children perceive it.

Metaphor - "Time is what you tell yourself" suggests that children create their own sense of time based on their experiences, showing a more fluid and subjective understanding of time.

HP2 - adult authority

"He knew the time / Was something like a ruler's hand / Slicing through the hours."

Metaphor - Time is compared to a "ruler's hand," a sharp, authoritative figure, highlighting the strict, ordered nature of adult perceptions of time.

Personification - The ruler's hand actively "slices," emphasizing time's control over the boy's life.

Imagery - "Slicing through the hours" creates a vivid image of time as an aggressive, domineering force, contrasting with the child's flexible understanding of it.

HP2 - childhood innocence 2

"But he was too small to know / What the hour was or what time meant."

Repetition - The phrase "What the hour was" and "what time meant" reinforces the boy's misunderstanding of time.

Simple diction - The simplicity of "too small to know" emphasizes the boy's immaturity and lack of comprehension.

Contrast - The child's ignorance of time contrasts with the adult world's obsession with it, highlighting the theme of childhood innocence versus adult complexity.

Piano - nostalgia

"Softly, in the dusk, a woman is singing to me; / Taking me back down the vista of years, till I see / A child sitting under the piano, in the boom of the tingling strings."

Imagery - "a woman is singing," "tingling strings" evoke sensory details of sound and atmosphere, bringing the scene to life.

Personification - "the boom of the tingling strings" gives a physical, almost alive quality to the music.

Enjambment - The continuation of thought across lines enhances the fluidity of the memory and the sense of time passing.

Piano - detachment from innocence

"In the room the women come and go / Talking of Michelangelo."

Allusion - Reference to Michelangelo, a famous figure in art and culture, adds a layer of intellectual context to the memory.

Repetition - The repetition of "come and go" emphasizes the fleeting, transient nature of the women's presence.

Alliteration - "Women" and "come and go" provide a rhythmic quality that mimics the passing moments.

Piano - loss

"I weep like a child for the past, for the past."

Repetition - The repeated phrase "for the past" emphasizes the deep, almost obsessive longing the speaker feels for his lost childhood.

Simile - "weep like a child" draws a direct comparison between the speaker's emotional state and that of a child, highlighting vulnerability.

Exclamation - The sudden, forceful declaration of grief underscores the intensity of the speaker's sorrow.

Piano - emotional power of memory

"And I feel in the heart of me / A child again, who is crying / In the darkness."

Metaphor - "The heart of me" symbolizes the emotional core of the speaker.

Contrast - The transition from adult to child creates a stark contrast, showing the speaker's emotional regression.

Symbolism - Darkness here symbolizes the unknown, the past, and the emotional turmoil that the speaker is revisiting.

Piano - past is powerful

"The glamour / Of childish days is upon me, / My manhood is cast / Down in the flood of remembrance."

Contrast - "Childish days" vs. "manhood" highlights the tension between the speaker's current adulthood and the youthful memories that still haunt him.

Alliteration - The use of "glamour" and "childish" creates a rhythmic flow and adds a sense of reverence to the memories.

Metaphor - "Flood of remembrance" represents the overwhelming rush of emotion and memory that sweeps over the speaker.

HnS - childhood innocence

"I hide, I hide, I hide."

Repetition - The repetition of "I hide" emphasizes the urgency and intensity of the child's action, mirroring the excitement and playfulness of childhood games.

Anaphora - The repeated structure builds a rhythmic, almost chant-like quality, reflecting the child's focus on the game.

Simple diction - The simplicity of the language mirrors the child's limited, immediate understanding of the world around them.

HnS - vulnerability

"I stand in the shadow, my head a-dip, / Waiting for you to come."

Imagery - The image of the child "standing in the shadow" evokes a sense of stillness, hiding, and the anticipation of being found.

Metaphor - The phrase "head a-dip" could symbolize the child's vulnerability or humility, possibly hinting at a deeper emotional state.

Personification - The shadow could symbolize the looming presence of adult experiences or emotions, a silent observer of the child's game.

HnS - loss of innocence

"And the game is almost over. / You look in every corner / But you can't find me."

Juxtaposition - The playfulness of the "game" contrasts with the eventual realization that the game is "almost over," which hints at a loss of innocence.

Foreshadowing - The idea of "almost over" suggests the fleeting nature of childhood and innocence, building toward a sense of finality.

Direct address - The use of "you" here shifts the focus, making the reader or another person the subject of the search, intensifying the feeling of being lost or overlooked.

HnS - passing the time

"The light is dim, the shadows long."

Imagery - The dim light and long shadows create a mysterious, almost eerie atmosphere, suggesting that the world has become less clear and more ominous.

Symbolism - The "dim light" and "long shadows" symbolize the fading clarity of childhood and the approaching unknown of adulthood.

Alliteration - The repeated "l" sound in "light" and "long" creates a soft, flowing rhythm that mimics the slow, inevitable passage of time.

HnS - silence

"No one came, and the silence / Closed in, and the world was strange."

Personification - "The silence closed in" gives a sense of pressure or confinement, highlighting the emotional weight of the child's isolation.

Juxtaposition - The contrast between the playful nature of the game and the overwhelming silence suggests the shift from innocence to a more somber awareness.

Symbolism - "The world was strange" symbolizes how the child's perception of the world is changing, feeling unfamiliar and possibly threatening.

116 - true love

"Let me not to the marriage of true minds / Admit impediments."

Metaphor - "Marriage of true minds" represents the union of two people in love, but it's not a literal marriage; it refers to the harmony of thoughts and emotions.

Formal diction - The use of "admit impediments" evokes legal or formal language, aligning with the idea of love as something pure and unbreakable.

Alliteration - The repetition of "m" in "marriage" and "minds" creates a rhythmic flow that emphasizes the harmony of love.

116 - true love 2

"Love is not love / Which alters when it alteration finds."

Paradox - The concept that true love cannot be altered when it encounters change is a paradox, suggesting that true love transcends circumstances.

Antithesis - The contrast between "love" and "alteration" emphasizes the idea that real love remains unchanged, even in the face of challenges.

Repetition - "Love is not love" is repeated to create a strong assertion of what love is not, further defining what true love should be.

116 - love as a guiding force

"It is the star to every wandering bark, / Whose worth's unknown, although his height be taken."

Metaphor - "Star" and "wandering bark" metaphorically depict love as a guiding force, like the North Star guiding sailors.

Imagery - "Wandering bark" creates an image of a ship lost at sea, emphasizing the idea of love as something that provides direction and stability.

Allusion - The reference to the "height" of the star invokes the idea of measurement, but Shakespeare notes that love's true worth cannot be measured.

116 - true love 3

"Love's not Time's fool, though rosy lips and cheeks / Within his bending sickle's compass come."

Personification - Time is personified as a "fool," emphasizing that love is not subject to Time's whims or control.

Metaphor - "Bending sickle's compass" refers to the image of the Grim Reaper, a symbol of death, yet Shakespeare contrasts it with the eternal nature of love.

Imagery - "Rosy lips and cheeks" create a vivid image of youth, highlighting the contrast between the fleeting nature of beauty and the enduring nature of love.

116 - truth of love

"If this be error and upon me proved, / I never writ, nor no man ever loved."

Conditional statement - "If this be error" sets up a hypothetical situation, emphasizing the certainty with which the speaker asserts the truth of his claim.

Hyperbole - The phrase "I never writ, nor no man ever loved" is an exaggeration, suggesting that if love isn't what the speaker describes, then all human experience of love is a lie.

Rhetorical climax - The final line builds up to a dramatic conclusion, intensifying the argument by linking the truth of love to the very existence of human affection and writing.

LBDSM - isolation

"O what can ail thee, knight-at-arms, / Alone and palely loitering?"

Rhetorical question - The speaker's use of a question invites curiosity and sets the tone of mystery, drawing attention to the knight's situation and the reason for his condition.

Alliteration - The repetition of the "l" sound in "alone" and "loitering" creates a melancholic, languid tone, emphasizing the knight's isolation.

Imagery - "Palely loitering" vividly portrays the knight's weakened, almost ghostly appearance, suggesting his emotional and physical deterioration.

LBDSM - seduction

"I met a lady in the meads, / Full beautiful—a faery's child."

Imagery - "In the meads" creates a vivid pastoral setting, while "faery's child" introduces an element of the supernatural, suggesting that the lady is otherworldly and not entirely human.

Symbolism - The "faery's child" is symbolic of seduction and danger. In medieval and romantic literature, faeries often symbolize allure and the potential for doom.

Juxtaposition - The beauty of the lady contrasts with the knight's gradual decline, setting up the tension between attraction and destruction.

LBDSM - entrapment

"She took me to her elfin grot, / And there she wept and sighed full sore."

Imagery - The "elfin grot" conjures an image of an eerie, otherworldly place, reinforcing the supernatural and almost sinister aspects of the lady.

Juxtaposition - The lady's beauty and her sorrow create a contrast that adds complexity to her character. Her tears suggest that she is not merely a seductive figure but also a tragic, possibly manipulative one.

Symbolism - The grotto symbolizes a secluded, enchanted space where the knight becomes entrapped, symbolizing his emotional and physical captivity.

LBDSM - death

"I saw pale kings and princes too, / Pale warriors, death-pale were they all."

Imagery - The phrase "pale kings and princes" creates a haunting image of decay, linking the knight's fate to that of other powerful men who have been consumed by the lady's charm.

Alliteration - The repetition of "pale" emphasizes the lifelessness and death that pervades the imagery.

Symbolism - The "pale" figures symbolize the loss of vitality and the death that follows those who fall victim to the lady's allure.

LBDSM - emotional death

"And this is why I sojourn here, / Alone and palely loitering."

Repetition - The repetition of "alone and palely loitering" brings the poem full circle, reinforcing the knight's perpetual state of despair and loss.

Allusion - The phrase "sojourn here" suggests a temporary stay, yet the knight remains in a state of emotional limbo, unable to move forward or escape his experience.

Irony - The knight's condition—his stillness and suffering—seems far from a temporary visit but instead is a lasting curse, highlighting the irony of his eternal emotional imprisonment.

P39 - love and loss

"I did not call you father, / But I loved you."

Juxtaposition - The contrast between the words "did not call you father" and "But I loved you" suggests a complex relationship, where love exists despite a lack of formal recognition or acknowledgment.

Short, impactful sentence structure - The simplicity of the sentence heightens the emotional weight, conveying the speaker's emotional conflict in just a few words.

Enjambment - The line continues without punctuation, reflecting the ongoing and unresolved feelings of the speaker.

P39 - nostalgia

"You were not a perfect man, / But you were the best man I knew."

Contrast - The juxtaposition of "not a perfect man" and "the best man I knew" highlights the complexity of human relationships. It emphasizes that even though the father wasn't flawless, he was the most important figure in the speaker's life.

Imperfection - By acknowledging the father's imperfections, the speaker brings a sense of realism and acceptance into the relationship, rather than an idealized or nostalgic view.

Repetition - The structure of "not a perfect man" and "the best man I knew" reinforces the speaker's belief in his significance despite flaws.

P39 - inheritance

The love you gave me / Was what I had to pass on."

Metaphor - "The love you gave me" is a metaphor for the emotional and moral teachings passed from the father to the speaker, suggesting that love is something tangible, something that can be carried forward.

Repetition - The phrase "pass on" suggests a cyclical nature of love and responsibility, showing how the speaker carries forward the father's legacy.

Ambiguity - The term "pass on" could also imply death, subtly acknowledging the father's absence while simultaneously suggesting the ongoing impact of his love.

P39 - growth

"You left me a world / I learned to love."

Personification - "A world I learned to love" gives the world the ability to be loved, suggesting that the world itself is shaped by the speaker's father and his influence.

Contrast - The idea of learning to love a world that was left behind creates a subtle tension between loss and acceptance, suggesting that the speaker did not initially understand or appreciate the world, but grew to value it over time.

Repetition of "love" - The repetition of "love" underscores the central role of affection and emotional connection in the speaker's development.

P39 - time and morality

"I am now the age / You were when you died."

Juxtaposition - The contrast between the speaker's age and the father's age at his time of death creates a powerful reflection on the passage of time and the inevitability of death.

Foreshadowing - The speaker's realization of being the same age as her father when he died adds a layer of mortality, as it suggests an inevitable cycle and reminds the speaker of her own limited time.

Symbolism - The father's death at this specific age symbolizes the end of an era and highlights the transient nature of life.

WP - alienation

"In his darkroom he is finally alone."

Irony - The phrase "finally alone" is ironic because while the photographer might be alone in the darkroom, the suffering he has witnessed during the war remains with him, emphasizing the emotional isolation he feels.

Imagery - The "darkroom" is a metaphor for the isolation and moral ambiguity of the photographer's work, where he processes not just photographs but his own conflicted feelings.

Symbolism - The "darkroom" symbolizes a space where truth is processed and revealed, but also where the photographer is cut off from direct engagement with the world outside.

WP - human suffering

"A hundred agonies in black-and-white."

Imagery - The phrase "a hundred agonies" evokes a vivid, painful image of the suffering captured in the photographs. The "black-and-white" reinforces the stark contrast between life and death, joy and pain.

Hyperbole - "A hundred" exaggerates the number of agonies, symbolizing the overwhelming scale of human suffering in war, emphasizing the sheer volume of pain that the photographer is exposed to.

Metaphor - "Agonies" is a metaphor for the horrific experiences of the people in the photographs, turning them into a physical manifestation of their suffering.

WP - emotional detachment

"The reader's eyeballs prick / With tears between the bath and pre-lunch beers."

Juxtaposition - The contrast between the emotional reaction ("eyeballs prick with tears") and the mundane activities ("bath and pre-lunch beers") highlights the detachment of the audience from the suffering depicted in the photographs.

Irony - The irony lies in how the reader's brief emotional reaction is quickly overshadowed by the triviality of everyday life, suggesting a lack of genuine empathy or long-term concern for the suffering.

Alliteration - The repetition of the "b" sound in "bath" and "beers" creates a rhythmic, almost casual feel to the line, underscoring the triviality of the reader's emotional engagement with the photos.

WP - disconnection

"They do not care. / The reader's eyeballs prick with tears."

Repetition - The repetition of "eyeballs prick" reinforces the idea of the reader's initial emotional reaction, but it also emphasizes how superficial that reaction is.

Direct address - The line "They do not care" speaks directly to the reader, critiquing their indifference to the suffering depicted in the photographs.

Tone - The tone here is critical and disillusioned, pointing out the gap between the emotional impact of war imagery and the audience's lack of sustained concern.

WP - war's destruction

"The blood stained into foreign dust."

Imagery - The phrase "blood stained" creates a vivid image of violence and suffering, while "foreign dust" invokes a sense of alienation and distance from the photographer's subject matter.

Symbolism - "Foreign dust" symbolizes the geographical and emotional distance between the photographer's subject and the viewer, highlighting the disconnection that exists between the war's reality and the viewer's experience.

Consonance - The "s" sounds in "stained" and "dust" create a hissing, almost haunting effect, emphasizing the unpleasantness of the war's aftermath.

Tyger - introduces symbol

"Tyger Tyger, burning bright, / In the forests of the night;"

Repetition - The repetition of "Tyger Tyger" emphasizes the power and majesty of the creature, making it the focal point of the poem.

Imagery - "Burning bright" creates a vivid visual image of the tiger as an intense, fiery presence in the dark forest, symbolizing both danger and beauty.

Alliteration - The repetition of the "b" sound in "burning bright" reinforces the tiger's fiery nature.

Tyger - divine creation

"What immortal hand or eye, / Could frame thy fearful symmetry?"

Rhetorical question - The question challenges the reader to consider who or what could have created such a powerful and terrifying creature, leading to a reflection on the nature of divine creation.

Alliteration - The repetition of "hand" and "eye" emphasizes the creator's role in shaping the tiger, but it also gives the poem a rhythmic flow.

Juxtaposition - The phrase "fearful symmetry" contrasts beauty ("symmetry") with terror ("fearful"), suggesting that creation can be both harmonious and dangerous.

Tyger - creation

"In what distant deeps or skies. / Burnt the fire of thine eyes?"

Alliteration - The repetition of the "d" sound in "distant deeps" and the "s" sound in "skies" creates a rhythmic and atmospheric tone, enhancing the sense of awe and mystery surrounding the tiger's origin.

Imagery - "Burnt the fire of thine eyes" conjures a powerful image of intense, consuming energy, suggesting that the tiger is a creature born of immense power.

Symbolism - The "fire" in the tiger's eyes can symbolize both destruction and creation, reinforcing the idea that the tiger represents a force that is at once beautiful and dangerous.

Tyger - innocence vs experience

"Did he who made the Lamb make thee?"

Rhetorical question - This question challenges the reader to compare the tiger with the lamb, invoking the idea of the innocent versus the dangerous.

Allusion - The reference to the "Lamb" alludes to Christian symbolism, where the lamb represents innocence and gentleness. The contrast between the lamb and the tiger reflects Blake's exploration of the dual nature of creation.

Contrast - The contrast between the lamb (often associated with God or good) and the tiger (often associated with fear and experience) highlights the tension between innocence and experience.

Tyger - power

"Tyger Tyger, burning bright, / In the forests of the night: / What immortal hand or eye, / Dare frame thy fearful symmetry?"

Repetition - The poem opens and closes with the same lines, creating a sense of circularity and emphasizing the mystery and incomprehensibility of the tiger's creation.

Rhetorical question - The question at the end, "Dare frame thy fearful symmetry?" challenges the idea of creation, suggesting that it takes immense courage or divine will to create something so powerful and terrifying.

Allusion - The reference to the "immortal hand or eye" suggests a divine or supernatural creator, reflecting Blake's belief in a force beyond human comprehension.

MLD - possession and control

"That's my last Duchess painted on the wall, / Looking as if she were alive."

Dramatic irony - The Duke speaks of his late wife in a way that suggests she is still present, while the audience knows she is not, heightening the tension between appearance and reality.

Imagery - The phrase "looking as if she were alive" creates a vivid image of the Duchess's portrait, enhancing the eerie sense that she is both present and absent.

Juxtaposition - The image of the dead Duchess "looking as if she were alive" contrasts the idea of life with death, symbolizing the Duke's desire to preserve control over her even after her death.

MLD - jealousy

"Who passed without / Much the same smile?"

Rhetorical question - The Duke's question emphasizes his frustration with his late wife's behavior, suggesting that her actions, such as smiling at others, were unworthy of the respect he thinks he deserves.

Juxtaposition - The smile of the Duchess is compared with the Duke's expectations of her, implying that her actions were inconsistent with his rigid demands for loyalty and submission.

Tone - The Duke's tone here is one of disdain and resentment, as he feels slighted by her behavior.

MLD - power and control

"I gave commands; / Then all smiles stopped together."

Enjambment - The line runs into the next without a pause, mimicking the sudden, uninterrupted nature of the Duke's decision to end his wife's life.

Ambiguity - The phrase "all smiles stopped together" is deliberately vague, leaving open the question of whether the Duke is referring to his wife's death or simply her submission to his will, but it suggests a finality to her behavior.

Irony - The Duke's casual tone when discussing his commands to stop his wife's smiles further reveals his cold, calculating nature, creating dramatic irony as the audience understands the full implications of his actions.

MLD - dominance

"Since none puts by the curtain I have drawn for you, but I"

Techniques:

Symbolism - The "curtain" symbolizes the Duke's control over what is revealed and hidden. It represents his ownership of the Duchess's image, which he can manipulate at will.

Possessive language - "None puts by but I" emphasizes the Duke's absolute ownership and control, not only over his late wife but also over how she is remembered or perceived.

Tone - The Duke's tone is possessive and controlling, as he makes clear that the portrait of the Duchess is something he alone has access to.

MLD - jealousy 2

"She thanked men, good! but thanked / Somehow—I know not how—as if she ranked / My gift of a nine-hundred-years-old name / With anybody's gift."

Repetition - The repetition of "thanked" emphasizes the Duke's obsession with the Duchess's actions and her perceived failure to properly honor him.

Irony - The Duke's frustration with his wife's behavior is ironic because his expectation that she should value his aristocratic title above all else reflects his own narrow and egotistical view of love and marriage.

Contrast - The phrase "my gift of a nine-hundred-years-old name" contrasts the Duke's inheritance and pride in his lineage with the Duchess's more equal and free-spirited behavior, highlighting their differing values and his sense of entitlement.

HC - self perception

"Excuse me / Standing on one leg I'm half-caste."

Colloquial language - The casual phrase "Excuse me" creates an informal, conversational tone, drawing the reader into the speaker's frustration and challenging the formal, discriminatory language of the term "half-caste."

Imagery - "Standing on one leg" is a visual metaphor for how the speaker feels physically and metaphorically unbalanced due to being judged for being "half-caste." It symbolizes the idea of being incomplete or marginalized.

Juxtaposition - The idea of standing on one leg contrasts with the balanced, "whole" notion of identity that society might expect, reinforcing the unfairness of the term "half-caste."

HC - cultural identity

"I'm not de same as dem / I'm not de same as dem."

Repetition - The repetition of "I'm not de same as dem" emphasizes the speaker's rejection of the label and reinforces their individuality and distinct identity. It suggests frustration and defiance.

Phonetic spelling - The use of non-standard spelling in "dem" and "de" mimics the Caribbean dialect and emphasizes the speaker's cultural identity, asserting the importance of individual expression over societal classification.

Tone - The tone here is assertive, indicating the speaker's desire to distinguish themselves from a stereotype or generalized label.

HC - racial purity and prejudice

"But yu mean / When picasso / Mix red an green / Is a half-caste canvas."

Metaphor - The comparison of a "half-caste" to Picasso's mixing of colors suggests that racial and cultural mixing can result in something creative, vibrant, and valuable, just like an artwork. It turns the derogatory term on its head.

Allusion - By referencing Picasso, the speaker elevates the concept of mixed identity, showing that cultural hybridity, much like the mixing of colors, can be artistically and intellectually valuable.

Rhetorical question - "But yu mean" challenges the listener to consider how such "mixing" can be seen as a negative or incomplete act.

HC - rejection of stereotypes

"Ah listening to yu wid / De keen half of my ear"

Metaphor - The phrase "keen half of my ear" conveys that the speaker is only half-engaged in the conversation, symbolizing how they feel about being labeled "half-caste." It shows that the speaker doesn't fully invest in a conversation or a system that marginalizes them.

Wordplay - The phrase "keen half" also plays on the idea of being sharp or alert to something, but only "half" of the message, reflecting how the speaker is critically aware of the prejudice but refuses to engage with it fully.

Irony - The speaker is only giving "half" of their attention, suggesting they are rejecting the idea of being "half-caste" and responding only in part to the ignorance they are being confronted with.

HC - questioning societal norms

"Explain yuself / Wha yu mean / When yu say half-caste."

Direct address - The speaker addresses the audience directly, demanding clarification of their prejudiced views. This challenges the reader or listener to examine their own assumptions about race and identity.

Rhetorical question - By asking "Wha yu mean," the speaker forces the reader to confront the arbitrary and nonsensical nature of the term "half-caste," suggesting that such labels have no clear or logical meaning.

Tone - The tone here is confrontational and challenging, as the speaker is forcing the listener to think critically about their use of derogatory terms.

Gentle - defiance against death

"Do not go gentle into that good night, / Old age should burn and rave at close of day;"

Imperative tone - The opening command, "Do not go gentle," immediately sets the tone of resistance and defiance. The use of a direct imperative challenges the reader to fight against the passivity of death.

Metaphor - "That good night" is a metaphor for death, emphasizing its peaceful, quiet nature as something to be resisted.

Imagery - "Burn and rave" evoke a powerful image of a fiery, passionate struggle against death, contrasting with the idea of peaceful surrender.

Alliteration - The repetition of the "g" sound in "go gentle" and "good night" creates a rhythmic flow, reinforcing the urgency and emotional weight of the command.

Gentle - defiance against death 2

"Rage, rage against the dying of the light."

Repetition: The repeated use of "rage" intensifies the speaker's urgency, as if pleading for a passionate and violent resistance to the encroaching darkness of death. The repetition amplifies the emotional appeal.

Metaphor: "The dying of the light" is a metaphor for death. The "light" represents life, energy, and vitality, while "dying" symbolizes the fading of life.

Alliteration: The repetition of the "r" sound in "rage" and "dying" creates a sharp, driving rhythm that mimics the intensity and fury of the speaker's plea.

Personification: The "dying of the light" is personified here as if light itself can die, giving death a more personal, inevitable, and active quality. The metaphor also suggests that death is not just a natural event but a powerful, unavoidable force.

Gentle - Regret

"Though wise men at their end know dark is right, / Because their words had forked no lightning they / Do not go gentle into that good night."

Contrast: There's a contrast between "dark is right" (accepting death) and the refusal to go "gentle." The wise men acknowledge death as a natural part of life but still resist it because they feel their lives were lacking in meaningful impact.

Metaphor: "Forked no lightning" metaphorically means that the wise men feel they have not created any significant change or made an impact. Lightning symbolizes something powerful and life-changing, so the absence of it reflects the men's regret.

Irony: The irony lies in the fact that wise men, who would typically accept death calmly, still rage against it. Their wisdom leads them to understand death's inevitability, but their failure to create a lasting legacy makes them fight against its approach.

Alliteration: "Forked no lightning" employs alliteration with the "l" sound, which brings attention to the absence of a powerful impact, emphasizing the men's failure to live up to their own expectations.

Gentle - Regret 2

"Good men, the last wave by, crying how bright / Their frail deeds might have danced in a green bay."

Imagery: The image of "the last wave by" conjures the idea of the final moments of life, with waves symbolizing the passage of time and inevitability. "Crying how bright" creates an emotional image of regret and frustration.

Metaphor: "Frail deeds" is a metaphor for the good men's actions that, despite their moral nature, were not impactful enough to leave a lasting legacy. The metaphor implies that their deeds lacked the strength or power to stand the test of time.

Contrast: The contrast between "frail deeds" and the idea of those deeds "dancing in a green bay" highlights the unfulfilled potential of these men. The "green bay" could symbolize a place of opportunity or vitality, but the men failed to seize it in their lifetimes.

Irony: The irony here is that these good men, despite their moral integrity, find themselves lamenting that their deeds never achieved the brilliance or vitality they had hoped for. The life they lived was not as impactful as they imagined.

Gentle - Personal Grief

"And you, my father, there on the sad height, / Curse, bless, me now with your fierce tears, I pray."

Direct address: The speaker directly addresses his father, creating an intimate, personal tone. This direct plea for emotional exchange adds intensity and immediacy to the emotional content of the poem.

Oxymoron: "Curse, bless" is an oxymoron, juxtaposing two opposing actions. The speaker is asking for both anger (curse) and love (bless), reflecting the complicated emotions surrounding death—grief, anger, love, and loss.

Emotional appeal: The line "I pray" is an emotional appeal that conveys vulnerability. The speaker is appealing to the father's emotional state in his final moments, asking for a powerful emotional response.

Personification: The phrase "fierce tears" personifies tears by giving them an attribute—fierceness—implying that they are not just tears of sadness but of intense emotion. This heightens the emotional weight of the moment, emphasizing the power of grief and the intensity of the relationship.

Remember - Desire for remembrance

"Remember me when I am gone away, / Gone far away into the silent land."

Repetition: The repetition of "gone away" emphasizes the inevitability and finality of death. It echoes the speaker's desire to be remembered, which is the central plea of the poem. The repetition underscores the deep emotional weight of the departure.

Imagery: The phrase "silent land" evokes a vivid image of death as a quiet, mysterious place, often associated with stillness and permanence. It paints death as an undisturbed, peaceful place where the speaker will be distant and unreachable.

Euphemism: "Silent land" is a euphemism for death, softening the harshness of the reality of death. By using this phrase, Rossetti distances the reader from the bluntness of the word "death," making it more palatable and lyrical.

Personification: The "silent land" is personified as a place that is quiet and empty, contributing to the sense of finality and separation from the living world.

Remember - Loss of future

"Remember me when no more day by day / You tell me of our future that you planned."

Juxtaposition: The quote juxtaposes the present (where the speaker is alive and plans are being made) with the future (where the speaker will no longer be present). The contrast between the two highlights the inevitability of separation through death and the pain of unrealized dreams.

Imagery: "Day by day" emphasizes the daily routines that are part of life. By setting this against the absence of the speaker, it creates a stark contrast that heightens the sense of loss.

Irony: There is an irony in the idea that the speaker will no longer be a part of the future they once envisioned. The future is a place of plans and hopes, yet those plans will now be unfulfilled because the speaker will be gone.

Alliteration: The repetition of the "d" sound in "day by day" enhances the rhythmic flow of the line and adds a musical quality to the poem, reinforcing the idea of time passing in a continuous, inevitable cycle.

Remember - Selflessness

"Better by far you should forget and smile / Than that you should remember and be sad."

Juxtaposition: The line juxtaposes two contrasting actions: "forget and smile" versus "remember and be sad." This contrast highlights the speaker's emotional vulnerability and their concern for their loved one's well-being after they are gone. It also expresses the internal conflict of wanting to be remembered but not wanting the memory to cause pain.

Irony: There is an ironic element here. The speaker wants to be remembered, but they also acknowledge that the memory might cause sadness. The irony lies in the tension between the desire for remembrance and the reality that it may bring sorrow to those left behind.

Conditional mood: The use of "should" suggests a hypothetical or conditional situation. The speaker is considering both outcomes and leaving the choice up to the living person, adding to the poem's reflective, contemplative tone.

Emotional appeal: The plea for the loved one to "smile" instead of feeling sadness shows the speaker's concern for their well-being after death, adding emotional depth to the poem. It highlights love's selflessness, even in the face of death.

Remember - Conflict between memory and moving on

"You tell me of our future that you planned, / Only remember me; you understand."

Repetition: The word "remember" is repeated here, reinforcing the central theme of the poem: the speaker's desire to be remembered after death. The repetition intensifies the speaker's emotional plea.

Direct address: The speaker directly addresses the lover with "you tell me" and "you understand." This direct address creates a personal, intimate tone and brings the reader into the speaker's emotional world.

Irony: There is a subtle irony in the line. The speaker acknowledges that the lover is planning a future without them, but the only thing the speaker wants in return is to be remembered. The irony lies in the idea that the speaker will be gone, and yet their greatest desire is to remain in the memory of the one they love.

Emotional appeal: The plea to "remember me" is an emotional appeal that evokes the desire for connection even after death. It shows how love transcends time, asking for remembrance even when the speaker is no longer physically present.

Remember - longing for continuity

"Remember me when no more day by day / You tell me of our future that you planned."

Imagery: The phrase "no more day by day" creates an image of the speaker's absence from daily life. It suggests the death of routine and the shift from presence to absence, enhancing the theme of separation after death.

Repetition: "Remember me" is repeated to emphasize the central theme of the speaker's plea for remembrance. This repetition strengthens the emotional weight of the speaker's request.

Contrast: The contrast between the present and the future highlights the separation between life and death. The speaker is calling for remembrance of their presence in the context of a future where they will no longer be a part of it.

Emotional appeal: The line appeals to the reader's emotions, evoking feelings of love and loss. The speaker expresses a desire to remain in the memory of the one they love, even when their physical presence is no longer possible.