Carol Ann Duffy - Poem Order & Themes

Little Red Cap:
Acts as an introduction to the collection and expresses the journey of a young girl, distorting the fairytale of Little Red Riding Hood, with a very possible autobiographical account of Duffy's own introduction into the world of love, sex and literature. Introduces many of the pinacle themes;
- Fairytale
- A Journey
- Growing Up
- Sexuality
- Independence
- Power Struggle
- Entrapment
- Rebellion/Obedience
- Literature

Thetis:
Continues this journey for female independence as Duffy modernises the myth Thetis, the sea goddess, whom shape shifted and rejected the advances of Zeus. However, she was then forced into marriage and bore a child. In this poem her shape shifting seems to act as both a defence mechanism and a way of expressing her true feelings and escape the entrapment of male influence. Key themes include;
- Mythology
- Power Struggle
- Independence
- Rebellion/Obedience
- Entrapment

Queen Herod:
TO BE STUDIED

Mrs Midas:
Another example of Duffy modernising mythology, in this case giving a female perspectibve to the story of King Midas whom had the ability to turn anything he touched into gold. This poem shares the implications of such an ability in a middle class environment with much emphasis on the change of state from ordinary to extraordinary and also from alive to cold, metal, a trophy. This poem therefore shows a wife's anguish in the following themes;
- Male Greed
- Loss (of Sexuality, Love and Human Warmth)
- Obedience/Domestication of Women

Mrs Tiresias:
TO BE STUDIED

Pilate's Wife:
The first Biblical allusion to Pilate, describes an account of the night before Jesus' crucifiction (whereby Pilate was the judge) where she Claudia Procula recieved a visit from the devil saying that Jesus was innocent. She seems bitter as she talks of entrapment within a marriage that was founded upon status:
- The Bible
- Entrapment
- Obedience/Domestication
- Power Struggle
- Male Ignorance

Mrs Aesop:
TO BE STUDIED

Mrs Darwin:
The first historical figure, Duffy uses clear irony and a light conversational tone to suggest that it was indeed Mrs Darwin who first rooted the idea of evolution. Turning point in the collection as is the first to not describe power struggle or male dominance, rather a more positive poem about female strength:
- Historical
- Independence/Female Strength
- Domestication? (if this poem is believed then she did not recieve the credit)

Mrs Sisyphus:
Another example of mythology, Sisyphus was punished by the Gods and forced to roll a boulder up a hill and watch it roll down for eternity. This poem uses language, modern and old, and repetition to represent the everlastingness of the task and also the annoyance the "k" being a particularly harsh sound. Portrays a wife's anguish and frustration - similar to Mrs Midas;
- Myth
- Entrapment (a cycle)
- Loss of Sexuality and Love etc.
- Domestication
- Male Ignorance & Incompetence

Mrs Faust:
Legend/Mythology about a man who sold his soul ot the devil in return for a life of fast paced success and luxury. Speed of his life reiterated by pace of poem and the way things appear listed "Fast cars. A boat with sails" also shows his consumeristic nature and greed. Mrs Faust expresses her own greed and as such shows Duffy is not just a feminist however one may argue such obsession with materialism is a consolation for loss of love etc:
- Legend/Myth
- Entrapment (via Devil)
- Male Greed (and female in this case)
- Loss of Sexuality, Love and Human Warmth

Delilah:
TO BE STUDIED

Anne Hathaway:
Example of a historical figure, Shakespeare's wife, which revolves arounf the idea of upon his death he leaves her the "second best bed" which would easily open discussion for the demotion of women, particularly as Duffy is a feminist. However, this poem differs from ever other poem as it speaks of true love that occurred upon the second best bed, a symbol of their marriage and which only speaks of the loss of such a love. This poem seems to mark a series of poems within the collection that speak of loss of love but never as intensely as this. Indeed this seems an homage to Shakespeare and displays Duffy's true poetic finesse:
- Historical
- Loss of Love

Queen Kong:
This poem is the first to create a female equivalent from media/film as it creates a female version of the infamous King Kong. There is a deep undertone of humour and farce throughout as Queen Kong describes how she falls in love and travels to New York to be with him only for him to die and her to create a trophy of him portraying childlike curiosity and possession:
- Media/Film
- Loss of Love
- Childishness
- Sexuality
- Power Struggle

Mrs Quasimodo:
TO BE STUDIED

Medusa:
Another display of mythology however like Thetis is a myth in her own right. Medusa was once the most beautiful woman in the world but was punished by a jealous God for falling in love with Poseidon. Her hair turned to snakes and this decay of beauty is a prominent theme throughout also used in her ability to turn people to stone. In this way Duffy uses imagery as the foundation for the poem's expression of loss;
- Mythology
- Entrapment
- Loss of Love, Beauty & Sexuality

The Devil's Wife:
A less obvious display of media the devil's wife refers to Myra Hindley whom was an infamous child killer in the 60's and whom was labelled the title of the poem. Duffy splits the poem into 5 with different subtitles as she enter the mind of Hindley and portrays her as being possessed by the devil, her lover Ian Bradey, and the power love and Bradey had over her. Duffy also shows what women are capable of and not just in a positive light;
- Media
- Entrapment
- Power Struggle
- Personal Struggle
- Loss of Love & Sexuality
- Obedience

Circe:
TO BE STUDIED

Mrs Lazarus:
Another biblical reference to Lazarus whom Jesus resurrected after 4 days. Duffy again modernises to show the pain his wife went through, changing days to months, and then the further pain when he is alive once again after she had come to peace with his death;
- The Bible
- Loss of Love, Sexuality
- Independence
- Power Struggle (Jesus brings him back without her will)

Pygmalion's Bride:
TO BE STUDIED

Mrs Rip Van Winkle:
TO BE STUDIED

Mrs Icarus:
Mythology once again about a man whom tried to fly his way out of Crete and ignored people's advice not to fly close to the Sun. This is a short poem expressing in simple modern language how idiotic she finds her husband;
- Loss of Love
- Male Ignorance

Frau Freud:
A historical inspiritaion in the shape of psychoanalysist Sigmend Freud who's obsession with the phallocentric theory is explored and undermined in this poem with the female Mrs Freud mocking the hype that comes with the exaggeration of the penis. Conversational and rhythmic its light hearted and shows synonyms of penis in the 5 stages of Freud's psychosexual theory;
- Male Arrogance
- Independence
- Sexuality

Salome:
TO BE STUDIED

Eurydice:
Another mythological story of a woman whom died and whose love, Orpeheus, strikes a deal with Hades to bring her back to life against her will using his gift of song and lyrics. This is the first time Duffy talks about the literary world and how it has been dominated by males. "Gods are like publishers". She shows entrapment within verse as it is forced upon her;
- Mythology
- Entrapment
- Power Struggle
- Literature

The Kray Sisters:
Like Queen Kong is the female equivalent of historical figures the Kray Twins who were famous mobsters that to some extent ran the East End of London. Duffy uses rhyming slang and alludes to Emmline Pankhurst - a famous suffragette which indicates the poem presents females who have been liberaterd, are talented and dominant in the 20th century, i,e Germaine Bardot Twiggy and lulu";
- Media/Historical
- Independence
- Power Struggle (in favour of women)

Elvis's Twin Sister:
Another example of a 20th century icon and a female equivalent. Duffy uses the imagery of a convent to show the contrast between this routine life and the life of Elvis which was consumeristic and led to his death ultimately a man-made corruption/work of the devil:
- Media
- Religion
- Entrapment
- Independence
- Personal Struggle

Pope Joan:
Legend/Historical figure whom was claimed to be the only female pope in the catholic church. She disguised herself as a monk but was dsicovered when she gave birth (9 stanzas then conclusion). Duffy explores corruption of the Church and suggests that one should not be taught power "learned to transubstantiate". Furthermore thought to be a man's job - the closest Joan felt to God was when she gave birth, a role only women can undertake;
- Power Struggle
- Religion
- Independence
- Entrapment
- Gain of knowledge?

Penelope:
TO BE STUDIED

Mrs Beast:
Another poem based around fairytale about a woman who married a beast and tamed him - contradictory to most fairytales such as "The little Mermaid" whom change dherself to suit a man. This poem is harsh and blunt showing strength of female character throughout - almost a declaration of female independence using such figures as "Juliet" "Marilyn Munroe" as martyres for the cause - women lost at the hands of men. A vulnerability is shown at the end in almost a plea to not become one of such women. Similar to Little Red Cap but differing in how the voice speaks with experience rather than youth - shows growth throughout the collection;
- Entrapment
- Obedience/Rebellion
- Independence
- Power Struggle
- Sexuality
- Loss
- Growing Up

Demeter:
The final poem shows instead the love between a mother and her daughter and again may be autobiographical just as the first poem was, expressing Duffy's love for her daughter using the myth of the Goddess of Nature. Her daughter was taken by Hades but Demeter struck a deal for her return - if she hadn't eaten she could return but Persephone had taken seeds from the underworld and thus had to stay for 6 months of the year. Seasonal transitions and changes in state are used by Duffy in an impressie display of imagery portraying Demeter's emotions in a sonnet;
- Loss of Love
- Entrapment

Carol Ann Duffy - Little Red Cap

At childhood's end, the houses petered out
into playing fields, the factory allotments
kept, like mistresses, by kneeling married men,
the silent railway line, the hermit's caravan,
till you came at last to the edge of the woods.
It was there that I first clapped eyes on the wolf.

Stanza 1 Analysis:
- "At childhood's end" suggests a journey into adolescence, almost a loss of childish purity and innocence. This is further highlighted by "the edge of the woods" which connotes being at the edge of an emotional cliff about to spiral into the unknown world of puberty and knowledge.

- "kept, like mistresses by kneeling married men" is the first feminist comment within the collection and portrays men being in firm control whilst at the same time "kneeling" suggests a form of reverence and sincerity. The use of the word "mistresses" highlights a secrecy to the pleasure they find within "the factory, allotments" etc. First sense of this place being filled with suppression and underground emotion, hiding desires beneath manual labour etc.

- "silent railway line" connotes an absence of travel, maybe in this ordered and potentially religiously orientated, "kneeling", there is no journey but instead a flat preconcieved idea of life. This stillness is contrasted by "the hermit's caravan", alone, religious and nomadic such people travel freely but in doing so seem to carry the burden of the label "hermit".

He stood in a clearing, reading his verse out loud
in his wolfy drawl, a paperback in his hairy paw,
red wine staining his bearded jaw. What big ears
he had! What big eyes he had! What teeth!
In the interval, I made quite sure he spotted me,
sweet sixteen, never been, babe, waif, and bought me a drink,

Stanza 2 Analysis:
- "He stood in a clearing, reading his verse out loud" portrays how the wolf became easily apparent to Red Cap, different and alone - sole, individual. He is confident and expresses himself freely through his work. Probably detailed as such to portray Adrien Henry, Duffy's ex-husband whom she was married to for 10 years.

- "red wine staining his bearded jaw", if we take this as an autobiographical account this statement shows Duffy's own youthful naiviety as those who understand the fairytale "Little Red Riding Hood" are aware of how the wolf decieves the heroine and is more at home with images of blood and mutilation. Duffy seems to be portraying a similar trap but more in keeping with sophistication and expression of art.

- "What big eyes he had! What teeth!", as to any adolescent the idea of danger is portrayed as enthralling and an excitement builds within the formulation of sentences and use of punctuation. The last line is short and rhythmical as if the wolf were "eyeing" her up as if reading off a menu details of his next meal/victim (?)

my first. You might ask why. Here's why. Poetry.
The wolf, I knew, would lead me deep into the woods,
away from home, to a dark tangled thorny place
lit by the eyes of owls. I crawled in his wake,
my stockings ripped to shreds, scraps of red from my blazer
snagged on twig and branch, murder clues. I lost both shoes

Stanza 3 Analysis:
- The initial enjambement of "my first" seems an appropriate title to the next few stanzas which describe her first encounter of sex and animalistic lust. This interruption also may present an idea of distortion of thought or lack of bearing - wolf pushing her off the organised path she was following.

- "The wolf, I knew, would lead me deep into the woods...to a dark tangled thorny place" It seems that whilst in the previous stanze Duffy portrays her naiviety in this she shows her willingness and knowledge of the wolf's intentions. This is again twisted however as she uses the word "crawled" which connotes infancy and it seems that she is caught between childhood and adolescence.

- The consistent imagery of being stripped of her clothes "my stockings ripped to shreds..." seems also to symbolise the stripping or discarding of her childhood. As "scraps" from her (possibly) uniform become removed she describes them as "murder clues" which seems to possess an air of rather than discarding her innocence willingly being forced into it. Furthermore the loss of such items seem to portray the loss of her bearing as she gets entrapped by lust - as in Hansel & Gretal her clothes may provide a way back home?

but got there, wolf's lair, better beware. Lesson one that night,
breath of the wolf in my ear, was the love poem.
I clung till dawn to his thrashing fur, for
what little girl doesn't dearly love a wolf?
Then I slid from between his hairy matted paws
and went in search of a living bird - white dove -

Stanza 4 Analysis:
- "Lesson one that night, breath of the wolf in my ear, was the love poem", childishly again she views this experience as a lesson with a teacher however sadly this lesson seems to involve her need for the realisation that the breath of a pre-orgasmic wolf is not love but is indeed mere lust. As this poem is all in hindsight Duffy seems to show how such realisation occurred too late.

- "clung till dawn to his thrashing fur" Duffy again shows a childish side, the word "clung" connoting holding for protection and strength rather than suggesting any enjoyable experience. The question "what little girl doesn't dearly love a wolf?" seems also to break the barrier between poem and reader as Duffy seems to be asking for justification.

- "went in search for a living bird - white dove", the white dove is a symbol of peace and purity and Duffy's search of it shows her desire to cancel out her sins and seek something to make her feel secure once again.

which flew, straight, from my hands to his open mouth.
One bite, dead. How nice, breakfast in bed, he said,
licking his chops. As soon as he slept, I crept to the back
of the lair, where a whole wall was crimson, gold, aglow with books.
Words, words were truly alive on the tongue, in the head,
warm, beating, frantic, winged; music and blood.

Stanza 5 Analysis:
- The imagery of the white dove immediately being destroyed by the wolf is a particularly apt image as the illusion of danger and excitement seems to disappear with "One bite, dead."

- "A whole wall was crimson, gold, aglow with books", though the danger and passion of the wolf has gone he seems to act as a gateway into the world of literature that Duffy has obviously become passionate about, emphasised by "words were truly alive on the tongue" and "warm, beating...". In this way perhaps there is admiration of the wolf and his work but still a naiviety of lust v love.

But then I was young - and it took ten years
in the woods to tell that a mushroom
stoppers the mouth of a buried corpse, that birds
are the uttered thoughts of trees, that a greying wolf
howls the same old song at the moon, year in, year out,
season after season, same rhyme, same reason. I took an axe

Stanza 6 Analysis:
- "But then I was young - and it took 10 years", further confirmation that Little Red Cap is autobiographical as the 10 years symbolise the 10 of her marriage to Henry. There is a sense of disillusion and that eventually realisation occurred "took 10 years in the woods to tell that a mushroom stoppers the mouth of a buried corpse.." Sounds like a woman trapped within a marriage, taken in by initial lust but then realising that "a greying wolf howls the same old song at the moon".

- "I took an axe" concludes the stanza, harsh sounding monosyllabic like the blow of an axe the enjambement shows how again there is an interruption of routine.

to a willow to see how it wept. I took an axe to a salmon
to see how it leapt. I took an axe to the wolf
as he slept, one chop, scrotum to throat, and saw
the glistening, virgin white of my grandmother's bones.
I filled his cold belly with stones. I stitched him up.
Out of the forest I come, with my flowers, singing, all alone.

Stanza 7 Analysis:
- Repetition of "I took an axe" seems to show an aggressive destruction and curiosity of the world around her, almost a dissection "I took an eaxe to a salmon to see how it leapt" furthering the idea that she had been previously disillusioned and seeing things unclearly. Furthermore by taking a weapon for herself she seems to be transcending Henry, her teacher and gaining independence.

- "One chop", this is mirrored to the "one bite, dead" of stanza 5 whereby in the same time he took her innocence, "virgin white" she returns the favour only this time retrieving his manhood "scrotum to throat". Furthermore Duffy states "I stitched him up" which could easily be a pun on the common phrase to decieve.

- The concluding line is a powerful statement of independence "I come with my flowers, singing, all alone." The use of the phrase "singing" implies a found voice and though the prospect of "alone" may often connote negativity it seems in this case Duffy finds it more empowering after suffering an unsatisfactory marriage to someone deemed masked by a sense of danger but whom underneath was repetitive and routine as the life displayed in the first stanza.

Philip Larkin - Down Cemetery Road

Philip Larkin - Questions

1. Why is "Annus Mirabilis" such a complex poem?

Larkin confines complexity within the boundaries of a typically structured poem that follows an ABBAB pattern. In the context of the sixties he seems to be portraying the rigidity of society up until then and how sinful ideas were locked up; either physically or masked by implicit innuendo, "The Chatterly ban and The Beatles firt LP", which are both expressions of promiscuity. Larkin thus seems to be mirroring this idea of containement and creating a puzzle of a poem that on the surface appears clean but beyond shows its true meaning.

The second stanza and the third imply the peak and then calm of sexual activity, even to the blunt point of suggesting orgasm as the second stanza begins with the word "Up". "A sort of bargaining, a wrangle for a ring" may describe the somewhat wholesome idea of marriage before sex in juxtaposition with the idea of both prostitution and the wrangle for the female form. "A quite unlosable game" Larkin suggests sexual paralysis, a boredom with sex almsost as it becomes so readily available. The concluding stanza continues with this mood with "so life was never better" an overtly sarcastic statement that describes the untranslated "Annus Mirabilis" with connotations of misery but which actually translates to joy, in a way that shows Larkin's ability to express his frank and negative opinion without even having to state it - facilitating a rare use of allusion to make the point for him.

2. How can you compare "An Arundel Tomb" with "Talking in Bed"?

Isolation is the main point of comparison between these two poems, namely the isolation someone may feel whilst in the presence of another. In "An Arundel Tomb" a couple lay for eternity in an "effigy" portraying a "blurred" image of love, "A sculptor's sweet commissioned grace" and a "blazon" of their relationship. This is similar to the "emblem" Larkin speaks of in "talking in Bed" whereby he states that when in bed with someone you are recreating "an emblem of two people being honest". This honesty seems distorted in "An Arundel Tomb", specifically by the repetition of the pun "lie" in reference to dishonesty rather than the horizontal position. Indeed the phrase "baroque" suggests some showy gesture of affection and an embellishment of the true. The Earl seems almost to surrender to the inevitable display of love, removing his "left hand gauntlet" from his hand in order to hold hers.

"Talking in Bed" mirrors this idea of embellishment, "A unique distance from isolation" though meaningless words and art may be used you are always ultimately left alone - distanced from your lover (or indeed anyone) by your own being. Almost entrapment, lying with someone merely exaggerates this isolation as whilst words may be "not untrue and not unkind" the use of the "un" prefix suggests an absence of the word in its entirity.

Both entrapment and absence occur in "An Arundel Tomb" however it is far more literal, being entrapped by "stone", "stiffened" and "rigid". Larkin also uses the prefix "un" to describe the deciet within this stoney fidelity. Whilst our "almost instict is almost true" there again lay an absence of honest and unembellished love.

The poems differences occur in their form. "Talking in Bed" is an autobiographical account whilst "An Arundel Tomb" is a more descriptive view of something. The former therefore may give us more insight into LArkin's lititary persona; a complex one that seems unable to commit to positivity, always masking it with a negative, i.e. "un", to indirectly describe it. In this way he seems to describe his own struggle in finding the words to say when within a relationship and the incompletion he feels.

3. What is wrong with labelling Larkin as a pessimist?

Though Larkin appears a pessimist, particularly in "This Be The Verse", he is implicitly ironic and his frankness shows an almost amusing account of the truth in its barest form. For example, "They fuck you up your mum and dad" is the most memorable and shocking introduction to a poem this side of the 20th century and almost subconciously one laughs at his explicit tone. However, as seen in "Annus Mirabilis" the almost disregarding way n which he enters the poem signposts a far more implicit meaning that harnesses an element of truth.

Larkin shows a desire in both "Talking in Bed" and "An Arundel Tomb" to find positivity stating that words are "not untrue and not unkind", however he seems unwilling to admit or commit to something he doesn't wholly believe in or believe is present. He seems to deliver truth to the reader and though he may never find completion he can but indirectly seek it as he shows he does throughout his work.

Philip Larkin - Annus Mirabilis

Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) -
Between the end of the "Chatterley" ban
And the Beatles' first LP.

Up to then there'd only been
A sort of bargaining,
A wrangle for the ring,
A shame that started at sixteen
And spread to everything.

Then all at once the quarrel sank:
Everyone felt the same,
And every life became
A brilliant breaking of the bank,
A quite unlosable game.

So life was never better than
In nineteen sixty-three
(Though just too late for me) -
Between the end of the "Chatterley" ban
And the Beatles' first LP.


Notes:
- The title of the poem is latin for "year of wonder" however without translation the title may suggest sexual misery.

- This poem contains many allusions to both extrinsically and intrinsically promiscuous art. The first is Lady Chatterley's Lover which was the first book to perpetuially use the word fuck and descirbe intimate sexual scenes. It therefore was banned up until the late 60's expressing how prohibiton of material containing sexual references led to a youth whom were forced to suppress sexual emotion or indeed go underground with it. The second is "The Beatles first LP" which contains questionable lyrics "Please Please Me" which could connote a plea for oral sex. This questionability is further portrayed in how there are 2 distinct ways of reading the poem, either inplicitly and thus sexually or literally and thus more wholesome. This implicit nature shows how the poem is somewhat of a puzzle: just as sex for such a youth would have been.

- The second stanza speaks of life previously "a wrangle for a ring" portraying the social rule of no sex before marriage and presents how sex before marriage should be cast in "A shame that started at 16". As previously detailed this stanza too has an implicit reading with "A sort of bargaining" even going as far as to suggest the buying and selling of prostitution. There appears to be a form of excitement involved with this "bargaining" and "wrangle". One could also be as crude to note how the first word in the stanza is "up" ...etcetc.

- The third stanza brings with it a definite change in tone, further displayed by the word "sank". There appears a lull "a quite unlosable game" suggesting that with this sexual revolution displayed in the 2nd stanza came a peak (no doubt the height of sexual excitement) and then a plummet into post-coital calm or even depression as sex loses all the challenges displayed in the previous stanza. Women portrated to succomb "a brilliant breaking of the bank" (spreading of legs?). This quotation could also refer to a sort of moral bankrupcy that comes with such a revolution, moving away from the wholesome world of the 50's. The idea that "everyone felt the same" connotes some form of emotional numbing and sexual paralysis.

- Structurally the poem maintains a strict ABBAB pattern which is in complete contrast to the content. Again Larkin using structure as a polite way of wrapping lude content.

Philip Larkin - This Be The Verse

They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.

But they were fucked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another's throats.

Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don't have any kids yourself.


Notes:
- The title "This Be The Verse" has almost a biblical element to it suggesting Larkin is delivering a lesson. Initially quite formal tone.

- This formality is completely undermined by the first line "They fuck your up your mum and dad". Not only is the use of an explicitive shocking but the informality of "mum and dad" suggests an implied child reader. The simplistic structure of the poem throughout further suggests this as it resembles a nursery rhyme. Inital reactions to the first line is surprisingly usually laughter which suggests that there is an element of silliness to Larkin's work. Though, as portrayed by the title, his poems are extrinsically serious and depressing he expresses that there may indeed be a distance between him and the self he portrays on the page.

- Larkin provides some irony with his choice of language and words for example, how everything up to "extra" is monosyllabic until "extra" which indeed has an extra syllable. Also he uses the word "half" exactly halfway through the poem.

- The content of the poem is focused around a very misanthropical perspective with misery being handed on from generation to generation "man hands on misery to man" and in particular the second stanza suggests that we are the identity of our parents with each generation worsening, "but they were fucked up in their turn". The use of words such as "fuck" and "fill" throughout the poem provides a literal view of reproduction suggesting that at the point of conception you're already tarnished by the label of human. Larkin does however provide a solution with, "Get out as early as you can" which in the literal sense would prevent conception in the first place.

- The final stanza distorts the tone back to the serious connotation of the title as the language "deepens" so does the content and indeed the poem. The phrase "deepens like a coastal shelf" suggests a slow weathering of the human condition. An image of beauty thats being tarnished by external influence such as the weather or the sea. Furthermore coastal shelves are supposedly a place of fertility.

- The context in which the poem is written is within the 1970's baby boom where, after the 60's everyone had an ideology of changing the world - women having careers as well as families for example. Larkin seems to step in to this ideology and crushes such a dream to individualise one self by stating that as such an ideology grows so does misery.

Explore how Williams presents Blanche:

Explore how Williams presents Blanche.

Blanche’s appearance is instantly described as “incongruous to the setting”, “dainty” and “delicate” in comparison to the raw and heavily industrialised surroundings of New Orleans. I believe this is personified in Stanley whom she labels, “bestial” and “something not quite to the stage of humanity yet”. I think Blanche sees not only Stanley but the modern working fabric of New Orleans as primitive, below her and her culture of “art” and “poetry”, “I take it for granted that you still have sufficient memory of Belle Reve to find this place and these poker players impossible to live with.”

It becomes evident that her upbringing was one of class and elegance, “looking as if she were arriving at a cocktail party in the garden district”, and even the name; “Belle Reve”, meaning beautiful dream connotes aristocracy and a wholly different world from the one she’s just entered, as if she has woken up to a reality that she has previously been sheltered from. This is the first of many comparisons between the old south she’s accustomed to and this new and developing south of clashing cultures and colours, in which Blanche appears utterly misplaced.

Her journey to New Orleans from Belle Reve seems also to map her spiritual journey, “They told me to take a streetcar named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at – Elysian Fields!” Williams implies that she once came from a “beautiful dream”, a surreal world in which she dabbled with desire then vanquished in death, her final resting place “Elysian Fields” – the resting place of heroes and a world engulfing her beloved Belle Reve, “I think it’s wonderfully fitting that Belle Reve should finally be this bunch of old papers in your big, capable hands!”. It becomes clear through Blanche’s nervous energy and clinginess to the memories of her past that she is a ghost of her former self, “Blanche begins to shake with intensity” and “Nervously tamping cigarette”. Even her name connotes emptiness, white, blank and dearth of colour and vibrancy.

Loss is a recurring theme throughout the play and within every scene comes a new curve in the spiral of Blanche’s deteriorating sanity; the death of her family and her young husband, the loss of Belle Reve and her status, the loss of her job, her reputation and arguably the most important factor in her collapse, the loss of her looks and therefore her very identity. Blanche is clearly obsessed with “that awful vanity about [her] looks” and shies away from light as if it burns, exposing her true and seemingly vulnerable character, not wanting anyone to see how faded she has become. As Stella moved on with the rest of the world Blanche stayed behind and slowly watched her Belle Reve disintegrate along with the bodies of her family – leaving her alone, “The long parade to the graveyard”.

Light is a substantial presence within the play and has many shifting meanings. Blanche seems caught between her desire for it, “It was like you suddenly turned a blinding light on something that had been half-shadow” and her fear of it casting reality upon her, “I can’t stand a naked bulb”. Williams describes her as “moth-like” and “flighty”, the audience given the image of a fragile being, not quite the butterfly of “soft colours” she used to be, fluttering and circling round a light bulb, getting close enough for it to burn then fleeing, only to be absorbed once more by it’s simplistic beauty and truth - a cycle in which Blanche has become trapped.

Blanche’s need to feel loved, desired and thus her fear of being on her own appears to lead to her manipulation of people and her surroundings in which she creates illusion, her only way in which to travel back to the old south and relive it. The first instance whereby Blanche creates illusion occurs in scene 3 upon her first meeting with Mitch. She uses the lighting to create a shadow of her still desirable figure and “moves indolently” to the sound of seductive rhumba music to entice the men whom are watching her, “[slipping] on the dark red satin wrapper”, “reading with feigned difficulty” and putting an “adorable little coloured lantern” over the light to soften it and conceal her age. Whilst Blanche attempts to relive her youth of good looks and gentlemen callers to both the audience and the other characters her “temporary magic” can be read as on the verge of desperation.

Williams presents Blanche as a shell, filling the gaps with “make-believe” as she attempts to gain the protection of a man. Although previously in a world whereby all men were gentlemen, Blanche seems to have learnt the hard way that in reality men of the new south will exploit vulnerable women and although she was searching for stability her flirtatious manner can be misread therefore thwarting her intentions. Her actions with the young boy, “I want to kiss you, softly and sweetly”, I feel was her way of connecting with her young dead husband, using him as a vessel to her old life, making peace with the boy whom she hurt. I believe that Mitch, although simple-minded, appeals to Blanche as he has known loss and can be easily manipulated to fit in with her illusions of the old south, ““Look who’s coming! My Rosenkavalier! Bow to me first! Now present them”… [He does so. She curtsies low.]” I think that Mitch could give Blanche an identity again, more humble than her last albeit but more dignified than this downfall into insanity and delusion.

The idea that she has dabbled in prostitution to make herself feel desired arises, aided by her flirtatious manner in which she seeks the approval of men, throughout scene 3 and is verified in scene 5 whereby Blanche breaks down, “men don’t admit your existence unless they are making love to you” and “make a little temporary magic just in order to pay for one night’s shelter.” The audience can therefore feel sympathy for Blanche as it is clear she has completely lost her way, “from one leaky roof to another” and through her inability to adapt has alienated this new world.

The desperation Blanche shows throughout the play for her identity shows that as Belle Reve died so did she. Williams presents her as a faded, ghost-like being of her past self in which she has become trapped between the old and new south, needing the stability of a man accustomed to both; gentlemanly yet adaptable and strong-minded. I believe Blanche personifies the death of a world of art and “tender feelings”. This new world is raw and empty of such luxuries, being replaced with industry and technology, “bold”, “primary”, “straightforward” and “honest”, a world in which Blanche can neither empathise nor adjust.

The Bluest Eye

The Bluest Eye

The Catcher in the Rye

Catcher in the Rye - Presentation

A Streetcar Named Desire

A Streetcar Named Desire

A Streetcar Named Desire - "You must be Stanley"