Carol Ann Duffy is a strong minded feminist and therefore hostility towards men seems inevitable within her work. There is indeed much evidence of gender struggle and detailed accounts of blatant suppression of women at the hands of men, resulting in literary damnation and dismissal of men in certain poems. However it seems a vast generalisation to assume thet just because Duffy is a feminist she is hostile towards men and I believe that one may find evidence of love within the collections just as easily as hatred.
Arguably the most overtly hostile poem in the collection is "Mrs Beast" which maintains an aggressive tone throughout "I should know, they're bastards when they're princes" and a declaration of female independence/domination, "We were a hard school, tough as fuck". Indeed Duffy shows a growth in confidence from the second poem in the collection "Thetis", "I shrank myself to the size of a bird in the hand of a man". Such hostility in "Mrs Beast" seems to root from resentment and a desire to avenge those who men destroyed i.e. "Thetis" and also directly from the poem "Diana Princess of Wales" and "Juliet" who remain martyres for feminism. "Mrs Beast" addresses women as the audience throughout in a dark and yet conversational tone "I had the language girls" almost as if addressing an army before they go into battle - in this case battling for those lost to the suffocation of the male species. There is furthermore a juxtaposition between the dismissal of men and the idea of success within the poem, "diamonds" and "All of us beautiful and rich" portaying materially how one may be better off emotionally without a man.
Indeed this lesson was foretold in the introductory poem "litle Red Cap" which portrays a young girl - led astray by a man and whom after many years gains knowledge that "a greying wolf howls the same old song at the moon" and again hostility is evident from such resentment, "I took an axe to the wolf as he slept". What differs in this poem however is the autobiographical tone that threads throughout the poem, speaking of Duffy's "ten year" marriage to poet Adrien Henry "He stood in a clearing reading his verse out loud in his wolfy drawl". Indeed the resentment felt at being suppressed to 10 years gives "Little Red Cap" a raw and aggressive emotion that may be described as the spark that ignites the hostility towards men for the entirity of the collection. However one could argue that this autobiographical air gives the poems in "The World's Wife" a distinction between Duffy and a persona Duffy has created to be hostile towards men. What is evident from both "Mrs Beast" and "Little Red Cap" is the idea that hostility towards men is founded upon a history of deep-rooted pain, in the latter "What little girl doesn't dearly love a wolf" and in the former "But behind each player stood a line of ghosts" and "Let the less loving one be me" showing that these aggressive women are born from the ashes of those whom were broken and loves that have been lost.
A poem that also speaks of love being lost is "Anne Hathaway" however Duffy takes a different tact and refrains from hostility, rather showing how love can be true in certain circumstances, "My lovers words were shooting stars" and "My living laughing love". Indeed this poem remains an homage to a great man who Duffy admires, Shakespeare, and in turn Duffy shows she may surpass mere feminine hostility, which she easily could have embraced with the line "my second best bed", to show that Duffy's and indeed the collection's intention is not to show men in a negative light but rather to put a spotlight on women, the illumination of which giving an opportunity to write and speak freely.
An example of how Duffy is not just attempting to demean men is "The Devil's Wife" which portrays outright hostility towards the female child killer Myra Hindley. The subtitles of each section, for example "Dirt" and "Medusa", connote a complete loss of femininity, dead, and unclean "I was the Devil's wife which made me worse". Duffy condemns Myra Hindley along with public opinion "Monster" and "Burn in Hell" and particularly in the final section "Appeal" she portrays Hindley as lost in her own ignorance and lack of remorse for her crimes "But what did I do". In doing so Duffy portrays that women are just as capable of sin and inflicting pain on others as men and therefore are just as deserving of hostility in certain circumstances.
I therefore disagree with the view that Duffy is "entirely" hostile towards men in this collection as although hostility is evident in certain poems, such hostility arises only because of great pain in the foundations of each circumstance. Furthermore only "little Red Cap" maintains both an autobiographical quality and evidence of hostility and so arguably thgouhout the rest of the collection it is not Duffy but merely a persona whom is portraying hostility. There is evidence also for affection being shown towards men and hostility towards women, showing that Duffy is not merely a man-hating feminist but one whom is willing to face the negative consewuences of gender equality along with the positive and furthermore show love towards me when the circumstance is deserving.
About Me
Showing posts with label Carol Ann Duffy. Show all posts
Showing posts with label Carol Ann Duffy. Show all posts
Monday, 18 April 2011
Thetis
I shrank myself
to the size of a bird in the hand
of a man.
Sweet, sweet, was the small song
that I sang,
till I felt the squeeze of his fist.
Stanza 1 Analysis:
- The first line immediately presents an idea of a descent of a self-destructive nature which is then continued to portray a vulnerability within the overpowering "hand of a man" - in true Duffy style intoducing the feminist stance of suppression.
- "Sweet, sweet" suggests femininity and a delicacy that encompassed within a song, an outward expression that in birds is often part of courtship, for the male's benefit. It may be juxtaposed with this idea of courtship as she seems intent on pleasing the male "till I felt the squeeze of his fist". An action of brute force that caused her to transform.
- Thetis is a mythological goddess of the sea who may transform herself into anything at her own will. In this case she seems to be transforming out of necessity rather than desire. In the story she is forced into marriage and raped.
Then I did this:
shouldered the cross of an albatross
up the hill of the sky
Why? To follow a ship.
But I felt my wings
clipped by the squint of a crossbow's eye.
Stanza 2 Analysis:
- "Shouldered the cross of an albatross", whilst the first phrase suggests Jesus' crucifixion an albatross has connotations of good luck. It seems then that Duffy is suggesting she is trying her luck but is inevitably going to end up tied down as Jesus was on the cross.
- "Clipped by the squint of a crossbow's eye" - her freedom, flight if you will, has been obstructed by yet another weapon. First the fist now the crossbow - increasingly becoming more damaging?
So I shopped for a suitable shape
Size 8. Snake.
Big Mistake.
Coiled in my charmer's lap,
I felt the grasp of his strangler's clasp
at my nape.
Stanza 3 Analysis:
- "Shopped" and "Size 8" are 21st century ideas that refer to how women nowadays seek to find/please men, by being thin and looking pretty.
- The transformation to a snake is also cleverly highlighted by the sibillance that subtly threads throughout the stanza "Snake. Big Mistake" and "Grasp of his strangler's clasp".
- "Coiled" suggests something about to leap/attack but in this case is prevented via the entrapment of "his strangler's clasp".
Next I was roar, claw, 50lb paw,
jungle-floored, meateater, raw,
a zebra's gore
in my lower jaw.
But my gold eye saw
the guy in the grass with the gun. Twelve-bore.
Stanza 4 Analysis:
- Changing tact, from birds to charm, snakes to decieve now she finds herself attempting to intimidate "roar" and "raw".
- As she progresses so does the hunter "gun. Twelve-bore".
I sank through the floor of the earth
to swim in the sea.
Mermaid, me, big fish, eel, dolphin,
whale, the ocean's opera singer.
Over the waves the fisherman came with his hook and his line and his sinker.
Stanza 5 Analysis:
- Connotations of "sank" again suggest a descent. Furthermore that first sentence is also a common phrase when referring to wanting to dissappear from a situation i.e. I wanted the earth to open up and swallow me.
- As a sea-goddess one may infer that, either the hunter has penetrated into her world and her being or that she is finding solace in the place she knows best. She even describes a transition back into herself "me" - possibly letting her guard down momentarily?
- "hook, line and sinker" often refers to falling for something, being decieved.
I changed my tune
to racoon, skunk, stoat,
to weasel, ferret, bat, mink, rat.
The taxidermist sharpened his knives.
I smelled the stink of formaldehyde.
Stuff that.
Stanza 6 Analysis:
- All the animals she lists are fast, small and evasive - the chase becoming more dynamic and speedy.
- Taxidermist is a person, presumably male, who stuffs animales. Removes the souls - furthermore connotations of rape - taking something? Indeed Duffy uses humour in "Stuff that" not wishing to merely become some extrinsic trophy (formaldehyde is a posion which preserves the exterior)
I was wind, I was gas,
I was all hot air, trailed
clouds for hair.
I scrawled my name with a hurricance
when out of the blue roared a fighter plane.
Stanza 8 Analysis:
- No longer organic she has turned to something barely tangible, just as the taxidermist would wish to preserve the exterior she has removed it from herself - presenting only soul, "scrawled my name with a hurricane".
Then my tongue was flame
and my kisses burned,
but the groom wore asbestos.
So I changed, I learned,
turned inside out - or that's
how it felt when the child burst out.
Stanza 9 Analysis:
- "Flame" "burned and "asbestos" all connote danger, pain and passion and combined suggest some form or forced romance, rape for example. Furthermore fire consumes everything in its path solidfying this argument. Indeed she states "I changed" and described giving birth suggesting that the result of this rape was a child.
to the size of a bird in the hand
of a man.
Sweet, sweet, was the small song
that I sang,
till I felt the squeeze of his fist.
Stanza 1 Analysis:
- The first line immediately presents an idea of a descent of a self-destructive nature which is then continued to portray a vulnerability within the overpowering "hand of a man" - in true Duffy style intoducing the feminist stance of suppression.
- "Sweet, sweet" suggests femininity and a delicacy that encompassed within a song, an outward expression that in birds is often part of courtship, for the male's benefit. It may be juxtaposed with this idea of courtship as she seems intent on pleasing the male "till I felt the squeeze of his fist". An action of brute force that caused her to transform.
- Thetis is a mythological goddess of the sea who may transform herself into anything at her own will. In this case she seems to be transforming out of necessity rather than desire. In the story she is forced into marriage and raped.
Then I did this:
shouldered the cross of an albatross
up the hill of the sky
Why? To follow a ship.
But I felt my wings
clipped by the squint of a crossbow's eye.
Stanza 2 Analysis:
- "Shouldered the cross of an albatross", whilst the first phrase suggests Jesus' crucifixion an albatross has connotations of good luck. It seems then that Duffy is suggesting she is trying her luck but is inevitably going to end up tied down as Jesus was on the cross.
- "Clipped by the squint of a crossbow's eye" - her freedom, flight if you will, has been obstructed by yet another weapon. First the fist now the crossbow - increasingly becoming more damaging?
So I shopped for a suitable shape
Size 8. Snake.
Big Mistake.
Coiled in my charmer's lap,
I felt the grasp of his strangler's clasp
at my nape.
Stanza 3 Analysis:
- "Shopped" and "Size 8" are 21st century ideas that refer to how women nowadays seek to find/please men, by being thin and looking pretty.
- The transformation to a snake is also cleverly highlighted by the sibillance that subtly threads throughout the stanza "Snake. Big Mistake" and "Grasp of his strangler's clasp".
- "Coiled" suggests something about to leap/attack but in this case is prevented via the entrapment of "his strangler's clasp".
Next I was roar, claw, 50lb paw,
jungle-floored, meateater, raw,
a zebra's gore
in my lower jaw.
But my gold eye saw
the guy in the grass with the gun. Twelve-bore.
Stanza 4 Analysis:
- Changing tact, from birds to charm, snakes to decieve now she finds herself attempting to intimidate "roar" and "raw".
- As she progresses so does the hunter "gun. Twelve-bore".
I sank through the floor of the earth
to swim in the sea.
Mermaid, me, big fish, eel, dolphin,
whale, the ocean's opera singer.
Over the waves the fisherman came with his hook and his line and his sinker.
Stanza 5 Analysis:
- Connotations of "sank" again suggest a descent. Furthermore that first sentence is also a common phrase when referring to wanting to dissappear from a situation i.e. I wanted the earth to open up and swallow me.
- As a sea-goddess one may infer that, either the hunter has penetrated into her world and her being or that she is finding solace in the place she knows best. She even describes a transition back into herself "me" - possibly letting her guard down momentarily?
- "hook, line and sinker" often refers to falling for something, being decieved.
I changed my tune
to racoon, skunk, stoat,
to weasel, ferret, bat, mink, rat.
The taxidermist sharpened his knives.
I smelled the stink of formaldehyde.
Stuff that.
Stanza 6 Analysis:
- All the animals she lists are fast, small and evasive - the chase becoming more dynamic and speedy.
- Taxidermist is a person, presumably male, who stuffs animales. Removes the souls - furthermore connotations of rape - taking something? Indeed Duffy uses humour in "Stuff that" not wishing to merely become some extrinsic trophy (formaldehyde is a posion which preserves the exterior)
I was wind, I was gas,
I was all hot air, trailed
clouds for hair.
I scrawled my name with a hurricance
when out of the blue roared a fighter plane.
Stanza 8 Analysis:
- No longer organic she has turned to something barely tangible, just as the taxidermist would wish to preserve the exterior she has removed it from herself - presenting only soul, "scrawled my name with a hurricane".
Then my tongue was flame
and my kisses burned,
but the groom wore asbestos.
So I changed, I learned,
turned inside out - or that's
how it felt when the child burst out.
Stanza 9 Analysis:
- "Flame" "burned and "asbestos" all connote danger, pain and passion and combined suggest some form or forced romance, rape for example. Furthermore fire consumes everything in its path solidfying this argument. Indeed she states "I changed" and described giving birth suggesting that the result of this rape was a child.
Monday, 4 April 2011
How far do you agree with the view that "Demeter" is an effective conclusion to the collection "The World's Wife"?
Carol Ann Duffy's 1999 collection "The World's Wife" is an expression of female suppression at the hands of men and furthermore almost a declaration of desired independence. Whilst as a feminist Duffy naturally maintains a consistently strong view on such themes, she also threads the idea of a journey, possibly her own or the journey of gender equality and power struggles as a whole. As the conclusion to the collection "Demeter" marks the end of such a journey expressing a mother's love for her daughter.
This may be viewed as an effective conclusion to the collection as it does not mention men throughout and therefore may be seen as the ultimate display of independence. Furthermore, "Demeter", the goddess of fertility, suffers not because of the actions of men but at the loss of her daughter,"I saw her at last, walking, my daughter, my girl". The repetition of "my" in the latter quotation seems to emphasise that her daughter, Persephone, belongs to her solely. Her sorrow and happiness depend on the loss and then gain of Persephone, "My broken heart" and then "I swear the air softened and warmed as she moved" and "Demeter"" as a poem seems to symbolise that women as a unity are no longer defined by men, but rather those things they have created for themselves. This complete dismissal of men therefore deems Demeter an effective conclusion as it continues this theme from the penultimate poen "Mrs Beast".
"Mrs Beast" is also a dismissal of men but Duffy uses female figures from mythology, fairytale and history and utterly distorts them into a modern mindset, using stories such as Romeo and "Juliet", "Snow White" and "Diana the Princess of Wales" describing them as "ghosts", women who have lost everythin in the pursuit of the perfect happy ending with Prince Charming. These women seem martyres for Duffy as "Mrs Beast" maintains a hardened tone, a defence mechanism, "We were a hard school, tough as fuck". Furthermore the dismissal of a Prince Charming in favour of a Beast, "no longer a girl, knowing my own mind" seems to portray the journey of the child-like character in "Little Red Cap", "never been".
As an introduction "Little Red Cap" laid the foundation themes that would be expressed throughout the collection and displays how at the cliff edge of adolescence, awaiting a steep drop into the limbo of sexuality and love "little Red Cap" was misled into "a dark tangled thorny place" and became entrapped for "10 years" without a voice and whose only escape was in the world of literature, "words, words were truly alive on the tongue". In contrast "Demeter" portrays a woman, no longer a child, with experience of love, sex and lust and whom no longer is defined by a man, but rather her daughter. Both "Little Red Cap" and "Demeter" share an autobographical air that threads throughout the poems, Duffy's 10 year marriage to Adrien Henry described in "Little Red Cap" via the image of the "wolf" and Duffy's own daughter as Persephone "My daughter, my girl" in "Demeter". It therefore seems fitting to close with the poets own maturation as a woman as she began with her struggle for personal identity and therefore "Demetor" remains an extremely effective conclusion to "The World's Wife".
One may also argue however that the complete absence of men within "Demeter" seems out of place in a collection revolving around gender struggles. Every other poem in the collection is from a feminine perspecture of a famous male and, though "Demeter" seeks to express love and not pain at the hands of men "Anne Hathaway" maintains the same idea, instead expressing love for William Shakespeare, and could arguably have been a more effective conclusion within the context of the collection rather than the self-centred nature of "Demeter". "Anne Hathway" portrays that not all marriages and love affairs are filled with pain and sorrow, rather Duffy describes "A spinning world", of fantasy and romance. Whilst the quotation that acted as inspiration for the poem "I gyve unto my wief my second best bed" could easily be a platform for Duffy to express feminist ideology and the suppression of women she chose not to - instead using the poem as an homage to Shakespeare and the love she has of literature, "his touch a verb dancing in the centre of a noun". With this love of literature parallel to that displayed in "Little Red Cap" to concludie with this poem would not only mirror this but would indeed provide an ending to the journey the collection described, one of finding true love after gaining such things as identity and sexuality, just as Duffy has gained a voice and an identity as a lesbian.
However, I believe that Duffy intentionally dismissed men from her concluding poem "Demeter" for a particular purpose, to show her freedom and independence from men and describe her own journey's end - revolving around the love of her daughter. I therefore agree whole-heartedly with the view that "Demeter" is an effective conclusion as its distance from men marks the finale of a personal journey for Duffy and acts as a voice to women and a declaration of liberation.
This may be viewed as an effective conclusion to the collection as it does not mention men throughout and therefore may be seen as the ultimate display of independence. Furthermore, "Demeter", the goddess of fertility, suffers not because of the actions of men but at the loss of her daughter,"I saw her at last, walking, my daughter, my girl". The repetition of "my" in the latter quotation seems to emphasise that her daughter, Persephone, belongs to her solely. Her sorrow and happiness depend on the loss and then gain of Persephone, "My broken heart" and then "I swear the air softened and warmed as she moved" and "Demeter"" as a poem seems to symbolise that women as a unity are no longer defined by men, but rather those things they have created for themselves. This complete dismissal of men therefore deems Demeter an effective conclusion as it continues this theme from the penultimate poen "Mrs Beast".
"Mrs Beast" is also a dismissal of men but Duffy uses female figures from mythology, fairytale and history and utterly distorts them into a modern mindset, using stories such as Romeo and "Juliet", "Snow White" and "Diana the Princess of Wales" describing them as "ghosts", women who have lost everythin in the pursuit of the perfect happy ending with Prince Charming. These women seem martyres for Duffy as "Mrs Beast" maintains a hardened tone, a defence mechanism, "We were a hard school, tough as fuck". Furthermore the dismissal of a Prince Charming in favour of a Beast, "no longer a girl, knowing my own mind" seems to portray the journey of the child-like character in "Little Red Cap", "never been".
As an introduction "Little Red Cap" laid the foundation themes that would be expressed throughout the collection and displays how at the cliff edge of adolescence, awaiting a steep drop into the limbo of sexuality and love "little Red Cap" was misled into "a dark tangled thorny place" and became entrapped for "10 years" without a voice and whose only escape was in the world of literature, "words, words were truly alive on the tongue". In contrast "Demeter" portrays a woman, no longer a child, with experience of love, sex and lust and whom no longer is defined by a man, but rather her daughter. Both "Little Red Cap" and "Demeter" share an autobographical air that threads throughout the poems, Duffy's 10 year marriage to Adrien Henry described in "Little Red Cap" via the image of the "wolf" and Duffy's own daughter as Persephone "My daughter, my girl" in "Demeter". It therefore seems fitting to close with the poets own maturation as a woman as she began with her struggle for personal identity and therefore "Demetor" remains an extremely effective conclusion to "The World's Wife".
One may also argue however that the complete absence of men within "Demeter" seems out of place in a collection revolving around gender struggles. Every other poem in the collection is from a feminine perspecture of a famous male and, though "Demeter" seeks to express love and not pain at the hands of men "Anne Hathaway" maintains the same idea, instead expressing love for William Shakespeare, and could arguably have been a more effective conclusion within the context of the collection rather than the self-centred nature of "Demeter". "Anne Hathway" portrays that not all marriages and love affairs are filled with pain and sorrow, rather Duffy describes "A spinning world", of fantasy and romance. Whilst the quotation that acted as inspiration for the poem "I gyve unto my wief my second best bed" could easily be a platform for Duffy to express feminist ideology and the suppression of women she chose not to - instead using the poem as an homage to Shakespeare and the love she has of literature, "his touch a verb dancing in the centre of a noun". With this love of literature parallel to that displayed in "Little Red Cap" to concludie with this poem would not only mirror this but would indeed provide an ending to the journey the collection described, one of finding true love after gaining such things as identity and sexuality, just as Duffy has gained a voice and an identity as a lesbian.
However, I believe that Duffy intentionally dismissed men from her concluding poem "Demeter" for a particular purpose, to show her freedom and independence from men and describe her own journey's end - revolving around the love of her daughter. I therefore agree whole-heartedly with the view that "Demeter" is an effective conclusion as its distance from men marks the finale of a personal journey for Duffy and acts as a voice to women and a declaration of liberation.
Monday, 28 March 2011
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
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
Sunday, 27 March 2011
Carol Ann Duffy - Little Red Cap
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.
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