(c) One of the main themes of An Inspector Calls is that of lies. Show how Priestley exposes deceit, both in his characters and in society as a whole. Discuss with close reference to the novel.
Lies is one of the main themes of “An Inspector Calls.’ We discover that in this play, much deception is practiced in a tangled woven web of lies.
Sybil Birling, a social snob, is revealed as a liar when she states that she has never met Eva Smith. In fact, she has met Eva, when the latter appealed to the Brumley Women’s Committee for help. As she is a liar, Goole is accordingly harshest with her, when he exposes her.
Eva, the deluded victim, lied to Sybil for survival, calling herself “Mrs. Birling.” In fact, she is unmarried and is the mother of Eric’s unborn child. Why should she presume to call herself “Mrs. Birling”? Perhaps it is because Birling is Eric’s surname and she represented herself initially as an abused married woman. Perhaps she hoped that Sybil would pity her, or she wished to blackmail Sybil for concealing the shameful secret. However, her unfortunate indiscretion led Sybil to spurn an subsequently lie to Goole.
Arthur, as a parsimonious Capitalist, insists that he is not responsible for Eva’s death. He lives in a world of self-delusion, in which he figures as the hero.
When this is viewed in the perspective of society as a whole, Arthur is living a lie. As an employer, he ought to provide Eva with benefits yet denies his responsibility when she commits suicide. He is clearly responsible for her death as he had fired her. His mask of shallow hypocrisy is exposed in the revelation of Eva’s impregnation by Eric. He is furious with Eric for seducing Eva not because he pities the latter. Instead, he says, “There’ll be a public scandal.” He wishes to keep the scandal under wraps in order to protect his reputation and this is living a life of deceit.
Sybil as the member of the Brumley Women’s Committee, is supposed to offer assistance to battered women. However, she rejects Eva’s appeal for aid, dismissing her. The Committee, in fact, is but a mere lie – it is a veneer for status and respectability rather than a helper of unfortunate females. Priestley portrays his contempt for the upper classes that use facades for prestige but do little. Goole, too, is ultimately revealed as a liar as he is not an Inspector. He serves to trip the masks of the others and expose deceit. In this way, deceit reveals deceit.
Hence, deceit in a society as a whole is extremely prevalent. Eva used it to survive; the Birlings practiced it for a secure reputation. However, deceit is a destructive force that eventually pulls us down when it is revealed as in the cases of Eva and the Birlings; and this way, Priestley conveys his opinions on the shallowness of deceit, particularly when exposed.
Marls: 11/12
Sunday, November 11, 2007
An Inspector Calls by J.B. Priestley
(b) Sheila represents the younger generation that Priestley hops is still open-minded enough to learn to accept responsibilities for others. Describe Sheila.
Sheila, being a member of the younger generation in an upper-middle class hierarchy, is initially naïve and spoilt. We see her spite and malice when she had Eva Smith fired for humiliating her by looking pretty. The Inspector observes that she was “jealous of her.”
However, she is open-minded and not truly conservative. I n one instance, she tells Eric, “You’re squiffy” which was considered unladylike in 1912, for “squiffy” is a slang for “slightly drunk.” Furthermore, she affectionately kisses Gerald in a state of excited elation upon receiving a ring from him. In those days, girls were expected to be modest, virtuous and constrained. “Oh, darling!” she exclaims in delight.
Furthermore, when the revelations of her spite acted on Eva and the dilapidated conditions of laborers are brought to her, she is genuinely shocked. Certainly she has a sensitive nature hidden within that is brought out when she is undeceived. When the Inspector informs her that there are girls who live in poverty-stricken states due to parsimonious employers, she protests, “But these girls aren’t cheap labour – they’re people.”
In the end, she is shown to be impressionable, being affected by Goole’s harangue and accepting responsibility for Eva’s death; she clearly sees her luckless wrongs, and is honest enough to face up to her gross misdeed. “It doesn’t much matter” that Goole turns out not to be an Inspector, she feels.
Hence, through Sheila, Priestley wishes to show that the younger generation is open-minded enough to learn to accept responsibilities for others. As they are young, mutable and inexperienced, such radical responsibility can be inculcated in them, being receptive to new ideas.
Marks: 7/8
Sheila, being a member of the younger generation in an upper-middle class hierarchy, is initially naïve and spoilt. We see her spite and malice when she had Eva Smith fired for humiliating her by looking pretty. The Inspector observes that she was “jealous of her.”
However, she is open-minded and not truly conservative. I n one instance, she tells Eric, “You’re squiffy” which was considered unladylike in 1912, for “squiffy” is a slang for “slightly drunk.” Furthermore, she affectionately kisses Gerald in a state of excited elation upon receiving a ring from him. In those days, girls were expected to be modest, virtuous and constrained. “Oh, darling!” she exclaims in delight.
Furthermore, when the revelations of her spite acted on Eva and the dilapidated conditions of laborers are brought to her, she is genuinely shocked. Certainly she has a sensitive nature hidden within that is brought out when she is undeceived. When the Inspector informs her that there are girls who live in poverty-stricken states due to parsimonious employers, she protests, “But these girls aren’t cheap labour – they’re people.”
In the end, she is shown to be impressionable, being affected by Goole’s harangue and accepting responsibility for Eva’s death; she clearly sees her luckless wrongs, and is honest enough to face up to her gross misdeed. “It doesn’t much matter” that Goole turns out not to be an Inspector, she feels.
Hence, through Sheila, Priestley wishes to show that the younger generation is open-minded enough to learn to accept responsibilities for others. As they are young, mutable and inexperienced, such radical responsibility can be inculcated in them, being receptive to new ideas.
Marks: 7/8
The Way THings Are by Roger McGough
c) Children should be taught to face reality. Do you agree with this statement? Discuss with close reference to the poem “The Way things Are” by Roger McGough.
It is true that children should be taught reality. The theme of reality versus illusion is brought out in “The Way Things Are” by Roger McGough through the persona’s lecture to his child.
Take for instance “Bubblegum does not make the hair soft and shiny.” Bubblegum, in fact, is ruinous to our hair. The figurative meaning indicates that things that are pleasurable, such as bubblegum, are not necessarily beneficial. Hence, children should be taught this lesson so that they do not thoughtlessly indulge in disastrous pleasure.
Another example is lectured as “No, the red wooly hat has not been/put on the railing to keep it warm.” This can be interpreted as certain deeds that may appear to have been done with kind intentions may have been done accidentally or selfishly. Literally, placing the hat on the railing “to keep it warm” I persiflage as railings are not living organisms and hence cannot feel.
We cannot subsist on dreams. “Moonbeams, sadly, will not survive in a jar.” Dreams being abstract, unrealistic and unattainable are represented as “Moonbeams” which have similar attributes. We should not be preoccupied with dreams or illusions; the jar symbolizing life or our mind. In another perspective (moonbeams being beautiful and unattainable), the phrase advises us to face reality and not be too over-possessive.
Do not cling on to the unachievable. Children should be taught to accept defeat, and that they cannot always have everything that they desire.
Furthermore, “No trusting hand awaits a falling star” informs us that miracles, represented by a “star” are rarities. W cannot expect fortune to descend to us, and wait meaninglessly. Instead, children should strive to achieve their goals through dedicated efforts.
Therefore, children should be taught to face reality, for childlike innocence may result in eventual disappointment and disillusion as a result of ignorance and naïveté. This message is cleverly conveyed in the woven web of symbolism.
Marks: 10/12
It is true that children should be taught reality. The theme of reality versus illusion is brought out in “The Way Things Are” by Roger McGough through the persona’s lecture to his child.
Take for instance “Bubblegum does not make the hair soft and shiny.” Bubblegum, in fact, is ruinous to our hair. The figurative meaning indicates that things that are pleasurable, such as bubblegum, are not necessarily beneficial. Hence, children should be taught this lesson so that they do not thoughtlessly indulge in disastrous pleasure.
Another example is lectured as “No, the red wooly hat has not been/put on the railing to keep it warm.” This can be interpreted as certain deeds that may appear to have been done with kind intentions may have been done accidentally or selfishly. Literally, placing the hat on the railing “to keep it warm” I persiflage as railings are not living organisms and hence cannot feel.
We cannot subsist on dreams. “Moonbeams, sadly, will not survive in a jar.” Dreams being abstract, unrealistic and unattainable are represented as “Moonbeams” which have similar attributes. We should not be preoccupied with dreams or illusions; the jar symbolizing life or our mind. In another perspective (moonbeams being beautiful and unattainable), the phrase advises us to face reality and not be too over-possessive.
Do not cling on to the unachievable. Children should be taught to accept defeat, and that they cannot always have everything that they desire.
Furthermore, “No trusting hand awaits a falling star” informs us that miracles, represented by a “star” are rarities. W cannot expect fortune to descend to us, and wait meaninglessly. Instead, children should strive to achieve their goals through dedicated efforts.
Therefore, children should be taught to face reality, for childlike innocence may result in eventual disappointment and disillusion as a result of ignorance and naïveté. This message is cleverly conveyed in the woven web of symbolism.
Marks: 10/12
For My Old amah by Wong Phui Nam
(b) What perception do you get of the relationship between the persona and his old amah in Wong Phui Nam’s poem, “For My Old Amah”?
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
For My Old amah by Wong Phui Nam
(b) What perception do you get of the relationship between the persona and his old amah in Wong Phui Nam’s poem, “For My Old Amah”?
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The relationship between the persona and his old amah in “For My Old amah” is close, from what I perceive.
For example, he describes the pitiful conditions of her lodgings with its “spittoon” and “trestle.” He does this with such pity and sympathy that one cannot help but sense his genuine pity for the amah. She, too, is in a dilapidated state of health and he expects that the “branches” will snap “in the dark” indicating her impending demise.
Furthermore, he portrays a close attachment to his amah. When thinking of his past days with her, he is filled with nostalgia. “Your palm crushed the child’s tears from my face.” In his youth, she had consoled him, and for this, he holds her in gratitude.
Moreover, he fact that he understands her situation indicates that he has visited her decrepit lodgings. She is not related to him, yet his close relationship and responsibility compels him to visit her.
The “biscuit tins” and “piles of dresses” in addition are “brutal” as they remind him of her sorrowful condition, as well as feelings of sentimental nostalgia. Seeing these things as “brutal” for they remind him of her, and he feels pangs for her. After her eventual death, these objects which are associated with her will flood him with past reminiscences about her.
Hence, closeness is depicted between the persona and his amah. The fact that he has immortalized her in verse shows that her condition sufficiently affects him to the extent of expressing his feelings in a poem.
Marks: 7/8
The Landlady my Roald Dahl
(c) How has the reading of The Landlady by Roald Dahl taught you that one must be cautious and not too trusting? Discuss with close reference to the text.
An evident theme in “The Landlady” by Roald Dahl is that appearances are deceptive. Billy, due to his naïveté, is taken in by the landlady, thus portraying insufficient caution
In one instance, when he rings the bell of the landlady’s house, he is immediately informed that the rent required is “fantastically cheap.” This compels him to stay there. Yet the house is surrounded in comfort and luxury with “a pretty little dachshund” and a “plump sofa.” Such material convenience is synonymous with exorbitant charges but he is not suspicious of the fiendish schemes brewing in her mind. It is ironical that he found the rent reasonable, for his naïveté has, ultimately, to pay an even higher price – his life.
Furthermore, upon viewing her house, he notices a “a pretty little dachshund” and a “large parrot”, enticing him to stay there. “Animals were usually a good sign.” However, little does he know that they have met their demise until later.
The landlady’s external veneer is attractive; she seems warm and kind with “gentle blue eyes.” So courteous is she that she has thoughtfully prepared Bill’s room. She is depicted as being affectionate such as calling him an endearment, “dear.” This draws him to her. Such wonderful treatment is highly suggestive of concealed evil and ulterior motives, yet Billy suspects nothing. She wishes to preserve his corpse, but he believes her to be a good woman. This may result in his luckless demise.
Moreover, the landlady generously prepared tea for him, which he accepts. The tea tastes of “bitter almonds’ and he is still innocent to her devious schemes.
Only while they are seated together does he realize that the dachshund and the parrot are deceased. They looked so homely and indicated a “good sign” initially, nut he is undeceived upon discovering their preserved state. Further abnormal behaviour of the landlady is depicted when she says her previous tenant’s skin was just “like a baby’s.” Upon being informed that she stiffs and preserves her dad pets, Billy, instead of recoiling, “stared with deep admiration.” Her indecorous indiscretion of remarking on the young man’s skin ought to have put him on his guard, yet he is fascinated and thinks little of this. How could she have discovered that “there wasn’t a blemish” on her victim’s body – unless by malevolent means?
Therefore, one must be cautious and not too trusting. This innocent attribute in Billy despite all the subtle hints, leads to his ensnarement, and ultimately, his impending death. This story teaches me this lesson.
Marks: 11/12
An evident theme in “The Landlady” by Roald Dahl is that appearances are deceptive. Billy, due to his naïveté, is taken in by the landlady, thus portraying insufficient caution
In one instance, when he rings the bell of the landlady’s house, he is immediately informed that the rent required is “fantastically cheap.” This compels him to stay there. Yet the house is surrounded in comfort and luxury with “a pretty little dachshund” and a “plump sofa.” Such material convenience is synonymous with exorbitant charges but he is not suspicious of the fiendish schemes brewing in her mind. It is ironical that he found the rent reasonable, for his naïveté has, ultimately, to pay an even higher price – his life.
Furthermore, upon viewing her house, he notices a “a pretty little dachshund” and a “large parrot”, enticing him to stay there. “Animals were usually a good sign.” However, little does he know that they have met their demise until later.
The landlady’s external veneer is attractive; she seems warm and kind with “gentle blue eyes.” So courteous is she that she has thoughtfully prepared Bill’s room. She is depicted as being affectionate such as calling him an endearment, “dear.” This draws him to her. Such wonderful treatment is highly suggestive of concealed evil and ulterior motives, yet Billy suspects nothing. She wishes to preserve his corpse, but he believes her to be a good woman. This may result in his luckless demise.
Moreover, the landlady generously prepared tea for him, which he accepts. The tea tastes of “bitter almonds’ and he is still innocent to her devious schemes.
Only while they are seated together does he realize that the dachshund and the parrot are deceased. They looked so homely and indicated a “good sign” initially, nut he is undeceived upon discovering their preserved state. Further abnormal behaviour of the landlady is depicted when she says her previous tenant’s skin was just “like a baby’s.” Upon being informed that she stiffs and preserves her dad pets, Billy, instead of recoiling, “stared with deep admiration.” Her indecorous indiscretion of remarking on the young man’s skin ought to have put him on his guard, yet he is fascinated and thinks little of this. How could she have discovered that “there wasn’t a blemish” on her victim’s body – unless by malevolent means?
Therefore, one must be cautious and not too trusting. This innocent attribute in Billy despite all the subtle hints, leads to his ensnarement, and ultimately, his impending death. This story teaches me this lesson.
Marks: 11/12
Saturday, November 10, 2007
Analysis of A Prayer for my Daughter by W.B. Yeats, Stanzas 9-10
Stanza 9: Yeats states that if hatred is ridded off, “the soul recovers radical innocence.” Hatred causes sin and violence; hence to be rid of it is to be innocent of these crimes. Innocence is beautiful in women. “Innocence” is radical because it is rooted in the soul. “Considering that, all hatred driven hence, / The soul recovers radical innocence”. A radical is a term for a root. In another perspective, the “innocence” is “radical” or unconventional because after the war, innocence became more uncommon. Hence, it is “radical” or something new to be innocent, as it defies the flow of convention.
“And learns at last that it is self-delighting, / self-appeasing, self-affrighting”. Innocence causes these attributes in the soul. It delights the soul, for there is no hatred; it is peaceful and soothing, yet it is “self-affrighting’ because it is frightening that others can take advantage of one’s innocence.
“That its own sweet will in Heaven’s will; / She can, though every face should scowl / And every windy quarter howl / Or every bellows burst, be happy still.” Goodness is heaven’s will because the soul is supposed to be good. Goodness makes Anne happy: “its own sweet will is Heaven’s will.”
Yeats states that Anne can still be happy amid chaos, unhappiness, quarrels and problems if she is innocent and free of hatred. “She can, though every face should scowl/ And every windy quarter howl/ Or very bellows burst, be happy still. If she is good, no one can harm her. So males will not overwhelm her (?) If the soul knows itself, “wind” or destructive forces cannot harm her, for the mind is at peace with itself.
Literary devices: repetition – “self-delighting/ self-appeasing, self-affrighting”
Parallelism - “self-delighting/ self-appeasing, self-affrighting”
Metaphors – “every face should scowl” – unhappiness and hostility
“bellows burst” – chaos, arguments. May have reference to McBride’s
“hot air” or people’s blaring opinions without effect.
Tone: revealing, fantasizing, prophesizing
Stanza 10: Yeats hopes that Anne will marry “and may her bridegroom bring her to a house/Where all’s accustomed, ceremonious.” He wants her to have a good, traditional husband. Perhaps he wants her to marry into a good, ceremonious family. He wants her to live in custom and ceremony. He does not want arrogance and hatred in her home, as that happens commonly outside in the vulgar, common crowds “thoroughfares” and would demean herself. Possibly referring to the destructive forces outside. It is demeaning, lowering herself and being rude, as one can find “arrogance and hatred” in the “thoroughfares” as though they re common, crude “wares.”
Innocence and beauty and cultivated by custom and ceremony. Yeats brings out his ideal virtues – custom, ceremony, grace, aristocracy and innocence. “How but in custom and ceremony/Are innocence and beauty born?” If we take “born” for its literal meaning, however, Yeats wants his daughter to have innocent, beautiful children and these virtues are inculcated through custom and ceremony.
Couplet: “Ceremony’s a name for the rich horn,/And custom for the spreading laurel tree.” The rich Horn of Plenty is positive now; as it has offerings, it allows ceremony. For it is ceremonious to have good things and offer them. Perhaps Yeats wants Anne to be well-off and comfortable. A horn also represents ceremony when one blows it to announce something.
Custom is a tradition which is “rooted.” When you plant a tree, it roots, Hence, custom is represented by a tree. The home which inculcates custom is the root of the children’s virtues. Hence, custom is represented by a tree. The spreading laurel tree, is custom but earlier on ,it is mentioned that Anne is a laurel; tree. As laurel tree represents custom, it is “spreading” because Yeats wants Anne to spread custom among her family. A laurel tree may be seen as a family tree. In that case, it is also spreading because Yeats wants Anne to have children – the branches which spread, making a bigger family – and spread custom throughout the generations.
Note that the term “olive-branches” means offspring. This is particularly apt because in this stanza, Yeats speaks of marriage, hence children are born and custom is spread.
Tone: Hopeful, reflective, advisory, lecture-like, opinionated, confident
Literary devices: symbol – “thoroughfares” – world and crowd at large and its
Commonness
“horn” – ceremony
“tree” – custom, family, children, Anne Yeats.
“And learns at last that it is self-delighting, / self-appeasing, self-affrighting”. Innocence causes these attributes in the soul. It delights the soul, for there is no hatred; it is peaceful and soothing, yet it is “self-affrighting’ because it is frightening that others can take advantage of one’s innocence.
“That its own sweet will in Heaven’s will; / She can, though every face should scowl / And every windy quarter howl / Or every bellows burst, be happy still.” Goodness is heaven’s will because the soul is supposed to be good. Goodness makes Anne happy: “its own sweet will is Heaven’s will.”
Yeats states that Anne can still be happy amid chaos, unhappiness, quarrels and problems if she is innocent and free of hatred. “She can, though every face should scowl/ And every windy quarter howl/ Or very bellows burst, be happy still. If she is good, no one can harm her. So males will not overwhelm her (?) If the soul knows itself, “wind” or destructive forces cannot harm her, for the mind is at peace with itself.
Literary devices: repetition – “self-delighting/ self-appeasing, self-affrighting”
Parallelism - “self-delighting/ self-appeasing, self-affrighting”
Metaphors – “every face should scowl” – unhappiness and hostility
“bellows burst” – chaos, arguments. May have reference to McBride’s
“hot air” or people’s blaring opinions without effect.
Tone: revealing, fantasizing, prophesizing
Stanza 10: Yeats hopes that Anne will marry “and may her bridegroom bring her to a house/Where all’s accustomed, ceremonious.” He wants her to have a good, traditional husband. Perhaps he wants her to marry into a good, ceremonious family. He wants her to live in custom and ceremony. He does not want arrogance and hatred in her home, as that happens commonly outside in the vulgar, common crowds “thoroughfares” and would demean herself. Possibly referring to the destructive forces outside. It is demeaning, lowering herself and being rude, as one can find “arrogance and hatred” in the “thoroughfares” as though they re common, crude “wares.”
Innocence and beauty and cultivated by custom and ceremony. Yeats brings out his ideal virtues – custom, ceremony, grace, aristocracy and innocence. “How but in custom and ceremony/Are innocence and beauty born?” If we take “born” for its literal meaning, however, Yeats wants his daughter to have innocent, beautiful children and these virtues are inculcated through custom and ceremony.
Couplet: “Ceremony’s a name for the rich horn,/And custom for the spreading laurel tree.” The rich Horn of Plenty is positive now; as it has offerings, it allows ceremony. For it is ceremonious to have good things and offer them. Perhaps Yeats wants Anne to be well-off and comfortable. A horn also represents ceremony when one blows it to announce something.
Custom is a tradition which is “rooted.” When you plant a tree, it roots, Hence, custom is represented by a tree. The home which inculcates custom is the root of the children’s virtues. Hence, custom is represented by a tree. The spreading laurel tree, is custom but earlier on ,it is mentioned that Anne is a laurel; tree. As laurel tree represents custom, it is “spreading” because Yeats wants Anne to spread custom among her family. A laurel tree may be seen as a family tree. In that case, it is also spreading because Yeats wants Anne to have children – the branches which spread, making a bigger family – and spread custom throughout the generations.
Note that the term “olive-branches” means offspring. This is particularly apt because in this stanza, Yeats speaks of marriage, hence children are born and custom is spread.
Tone: Hopeful, reflective, advisory, lecture-like, opinionated, confident
Literary devices: symbol – “thoroughfares” – world and crowd at large and its
Commonness
“horn” – ceremony
“tree” – custom, family, children, Anne Yeats.
Friday, November 9, 2007
An Inspector Calls by J.B. Priestley - an essay by Claire Wong.
Essay 1 ½ pages
(c) Select one of the members of the Birling family. Write a character study, using the text for reference, to show how Priestley uses the character to convey his own opinions and attitudes.
The playwright of “An Inspector Calls,” J.B. Priestley, was a dedicated supporter of socialism, and by writing this play, he vents his own opinions and attitudes through his characters. The play is set in 1912, two years prior to the First World War, in the home of a prosperous manufacturer, Arthur Birling. It is perceptible to the reader that a prevailing aspect of the play is Capitalism versus socialism. This theme centres on Arthur Birling, a Capitalist.
A conspicuous trait in Arthur Birling is his egotism. If one analyses deeply, Birling, in fact, is a subject of satire; he is intended to be portrayed as a typical Capitalist. A man of wealth, he is a pompous snob of the upper hierarchy, often ostentatiously displaying his advantageous connections. “I might find my way into the next Honours List … a knighthood… I was Lord Mayor … when Royalty visited us,” he boasts to Gerald Croft. Besides, he is obviously elated to welcome Gerald into his arms as his future son-in-law. “You’re just the kind of son-in-law I always wanted” and “I’m delighted about this engagement” show that he is impressed by Gerald’s genteel family. This is rather amusing. J.B. Priestley wishes to point out his contempt for capitalist class systems by satirizing Arthur Birling; the reader can see that Birling’s vulnerability to high society is indeed shallow; the latter views the veneer of respectability as an honour. We ought to respect those with honour, ideals and determination; Gerald’s character is not particularly radical or persevering, yet Birling admires him for his wealth and gentility.
Further illustrations of Birling’s character are in his eager remarks to Gerald, “we may look forward to the time when Crofts and Birlings … are working together – for lower costs and higher prices.” We can see his greed and parsimony; this is supposed to be a relaxed, joyous celebration, yet Birling must “talk business on an occasion like this.” It is clear that his desire for wealth cannot be restrained, even when he is supposed to be at ease. Later, we find proof of his avarice: he refused to raise the wages of capable employees despite being well-off. Priestley, being a Socialist, is concerned for the ill-paid lower classes. Birling shows an injustice in refusing to reward Eva Smith, a “good worker.” In fact, he can afford to raise her salary, which she deserved as she increased productivity, and hence, his earnings. Yet he is obstinate in his selfishness. Priestley wishes to show how shallow, money-grubbing and stingy capitalists can be; many things are to their advantage, as they held power and dominance over their social inferiors. If their employees go on strike, they are dismissed, as eva Smith was. There was little protection for workers then. Money is a destructive force an Priestley demonstrates his disdain for its risky influence. Its evil influence is portrayed in Birling, the puppet, as it obstructs our finer feelings. We ought to compensate those who work industriously towards higher profits, and give employees a right to live better lives and more equally.
Responsibility hovers around the play. As an employer, Birling is responsible for his workers’ welfare. He is responsible for paying their wages and to provide them with a suitable workplace. /yet, we see that he refused to increase the renumeration of capable workers. It is his responsibility to provide them so that that can enjoy a life of sufficient needs. Indignant, his employees started a strike, and Eva Smith, who spoke out – understandably – for her rights, was dismissed. A young woman in her position had little to live on, and Birling who already behaved graspingly, ought to have re-employed her, to provide her with a job. In another perspective, this solution would have fulfilled his other responsibility – to the consumers. Being capable, Eva Smith and the other ringleaders would have increased productivity, quality of the products and profits. With these girls, Birling could have offered better products to his consumers. After her dismissal, Eva was forced to resort to finding another job, but her earlier dismissal led to a concatenation of disastrous events, torment and ultmtely, her death. When the Inspector confronts Birling with this information, Birling cold-heartedly refuses to “accept any responsibility” for her death as it would be “very awkward.” Eva was helping Birling to make profits; in other words, she shared responsibility. Priestley indicates that we should share our responsibility – fairly. Birling ought to have allowed Eva more freedom for her diligence, and taken her under his wing. It is his responsibility to pay her benefits. Capitalists should be willing to accept responsibility. To ignore their workers’ needs would be inhumane. Capitalists gain profits from their employees’ efforts and drudgery, and should therefore ensure a comfortable living for them. More so, as Birling did not provide benefits, he is even more accountable for Eva’s sufferings. Priestley shows that the rich make the poor suffer, yet give them an unequal share and refuse to be held accountable for their inhumane actions.
Another implication lies in Birling’s role as the autocratic father. He is narrow-minded and prejudiced against the lower-classes, the young and revolution. The revelation of Birling’s hand in Eva’s demise arouses Eric, “why shouldn’t they try for higher wages? We try for the highest possible prices.” Birling instead becomes angry with him and this shows his hypocrisy. He aims to charge higher prices, but disallows his workers from following suit. Sheila voices her sympathy for Eva, but Birling disdains this. He evidently does not believe in the young voicing their opinions. This play is not merely about the pinions of Socialists, but also the ideas of the young. It is the young who bring new ideas, but due to their unestablished position in the world, the old hold them in contempt. A Radical, Priestley points this out. The old cannot change sufficiently quickly for new reforms. They fear this change, and impose their haughty stands on the youngsters. Eric and Sheila express their views that labourers have the right to “try for higher wagers”, Birling puts is foot down. The young are less hardened, but they are exposed to new ideas, and can do better for the labourers. They consider possibilities; Birling retorts that “there isn’t a chance of war.” He is trying to avoid the possibilities of his ruin. It is ironical that he mentions, “Look at the progress we’re making.” For further progress, the ideals and the efforts of the young are required. With Birling’s preconceived notions, society cannot progress to a fairer state. How can we hope for revolution with the young suppressed?
Birling’s bigotry is depicted in his male chauvinism. He treats females with less respect, and with contempt. He views them as mere toys. The discovery of Gerald’s amorous intrigue with Eva Smith does not perturb him. Gerald has committed an indiscretion by seducing Eva and betraying Sheila, and Sheila resents this. Birling, however, states that “you must understand that a lot of young men –” have libidinous flings. It does not anger him. He feels that it is all right in men to philander, but he does not respect Sheila’s resentment of Gerald’s indiscretion, and forces her to marry him. That portrays that he does not respect her rightful opinion. He has little admiration for womanly strength, insisting that “there isn’t the slightest reason why my daughter should be dragged into this unpleasant business.” To him, women are weak, and ought not to know about violence and strumpery. Girls at that time were expected to be innocent. Priestley feels that women should be given the right to know “unpleasant and disturbing things” and express their opinions. As a large component of the workforce, women are exposed to drudgery, knowledge and the ways of the world; they ought to have the right to defend themselves and give opinions. After the war, many men were killed. And women became more significant in the workforce. Should not capable women be free to speak? Being ignorant increases their vulnerability, and girls like Eva Smith do not have the protection of a male figure.
There is a suggestiveness conveyed by Priestley. Birling, as we know, is against Socialism. He does not believe in the possibility of war. “Just because the Kaiser makes a speech or two, or a few German officers … begin talking nonsense … there isn’t a chance of war … The world’s developing so fat …Look at the progress we’re making … we’ll have aeroplanes that will be able to go anywhere … you’ll be living in a world that’ll have forgotten all these Capital versus Labour agitations and all these silly little war scares.” Naturally, the First World War took place after this, in 1914, and the progress in technology aided it. The downtrodden revolted and fought for more equality, despite the fact that rich Capitalists pooh-poohed this notion. It is as though Priestley is telling the reader that although the capitalists believed otherwise, war occurred, and Socialism triumphed. The war caused more equality. Therefore, Priestley suggest, socialism, being an excellent ideal, gained victory, hence it is like a battle between “good and evil.” Priestley is cynical about monetary success under Capitalism. He feels contempt for Capitalists like Birling, who disdain Labour, and expressed this scorn by making Birling a hateable, despicable person.
The truth is beautiful. Birling strives to conceal Eric’s affair with Eva, in order to preserve his reputation. Why should we deny the facts? Birling, besides, disapproves of his daughter’s knowledge about his covetousness and Gerald’s indiscretion. Priestley detests pretension that comes with social stability. That way, we can administer justice and determine our responsibilities. Capitalists are supposed to be law abiding; they do not permit strikes. Yet the truth is veiled.
Therefore, it is evident that Priestley conveys his revolutionary opinions and attitudes toward society through this play, through subtle means. The characters serve as his puppet-like orators, but with an enthralling plot, influence the reader to think, reflect and analyse the differences between then and now. There are many opinions expressed in this drama, and we can discern Priestley’s wrath and contempt in Arthur Birling.
Marks: 12/12
(c) Select one of the members of the Birling family. Write a character study, using the text for reference, to show how Priestley uses the character to convey his own opinions and attitudes.
The playwright of “An Inspector Calls,” J.B. Priestley, was a dedicated supporter of socialism, and by writing this play, he vents his own opinions and attitudes through his characters. The play is set in 1912, two years prior to the First World War, in the home of a prosperous manufacturer, Arthur Birling. It is perceptible to the reader that a prevailing aspect of the play is Capitalism versus socialism. This theme centres on Arthur Birling, a Capitalist.
A conspicuous trait in Arthur Birling is his egotism. If one analyses deeply, Birling, in fact, is a subject of satire; he is intended to be portrayed as a typical Capitalist. A man of wealth, he is a pompous snob of the upper hierarchy, often ostentatiously displaying his advantageous connections. “I might find my way into the next Honours List … a knighthood… I was Lord Mayor … when Royalty visited us,” he boasts to Gerald Croft. Besides, he is obviously elated to welcome Gerald into his arms as his future son-in-law. “You’re just the kind of son-in-law I always wanted” and “I’m delighted about this engagement” show that he is impressed by Gerald’s genteel family. This is rather amusing. J.B. Priestley wishes to point out his contempt for capitalist class systems by satirizing Arthur Birling; the reader can see that Birling’s vulnerability to high society is indeed shallow; the latter views the veneer of respectability as an honour. We ought to respect those with honour, ideals and determination; Gerald’s character is not particularly radical or persevering, yet Birling admires him for his wealth and gentility.
Further illustrations of Birling’s character are in his eager remarks to Gerald, “we may look forward to the time when Crofts and Birlings … are working together – for lower costs and higher prices.” We can see his greed and parsimony; this is supposed to be a relaxed, joyous celebration, yet Birling must “talk business on an occasion like this.” It is clear that his desire for wealth cannot be restrained, even when he is supposed to be at ease. Later, we find proof of his avarice: he refused to raise the wages of capable employees despite being well-off. Priestley, being a Socialist, is concerned for the ill-paid lower classes. Birling shows an injustice in refusing to reward Eva Smith, a “good worker.” In fact, he can afford to raise her salary, which she deserved as she increased productivity, and hence, his earnings. Yet he is obstinate in his selfishness. Priestley wishes to show how shallow, money-grubbing and stingy capitalists can be; many things are to their advantage, as they held power and dominance over their social inferiors. If their employees go on strike, they are dismissed, as eva Smith was. There was little protection for workers then. Money is a destructive force an Priestley demonstrates his disdain for its risky influence. Its evil influence is portrayed in Birling, the puppet, as it obstructs our finer feelings. We ought to compensate those who work industriously towards higher profits, and give employees a right to live better lives and more equally.
Responsibility hovers around the play. As an employer, Birling is responsible for his workers’ welfare. He is responsible for paying their wages and to provide them with a suitable workplace. /yet, we see that he refused to increase the renumeration of capable workers. It is his responsibility to provide them so that that can enjoy a life of sufficient needs. Indignant, his employees started a strike, and Eva Smith, who spoke out – understandably – for her rights, was dismissed. A young woman in her position had little to live on, and Birling who already behaved graspingly, ought to have re-employed her, to provide her with a job. In another perspective, this solution would have fulfilled his other responsibility – to the consumers. Being capable, Eva Smith and the other ringleaders would have increased productivity, quality of the products and profits. With these girls, Birling could have offered better products to his consumers. After her dismissal, Eva was forced to resort to finding another job, but her earlier dismissal led to a concatenation of disastrous events, torment and ultmtely, her death. When the Inspector confronts Birling with this information, Birling cold-heartedly refuses to “accept any responsibility” for her death as it would be “very awkward.” Eva was helping Birling to make profits; in other words, she shared responsibility. Priestley indicates that we should share our responsibility – fairly. Birling ought to have allowed Eva more freedom for her diligence, and taken her under his wing. It is his responsibility to pay her benefits. Capitalists should be willing to accept responsibility. To ignore their workers’ needs would be inhumane. Capitalists gain profits from their employees’ efforts and drudgery, and should therefore ensure a comfortable living for them. More so, as Birling did not provide benefits, he is even more accountable for Eva’s sufferings. Priestley shows that the rich make the poor suffer, yet give them an unequal share and refuse to be held accountable for their inhumane actions.
Another implication lies in Birling’s role as the autocratic father. He is narrow-minded and prejudiced against the lower-classes, the young and revolution. The revelation of Birling’s hand in Eva’s demise arouses Eric, “why shouldn’t they try for higher wages? We try for the highest possible prices.” Birling instead becomes angry with him and this shows his hypocrisy. He aims to charge higher prices, but disallows his workers from following suit. Sheila voices her sympathy for Eva, but Birling disdains this. He evidently does not believe in the young voicing their opinions. This play is not merely about the pinions of Socialists, but also the ideas of the young. It is the young who bring new ideas, but due to their unestablished position in the world, the old hold them in contempt. A Radical, Priestley points this out. The old cannot change sufficiently quickly for new reforms. They fear this change, and impose their haughty stands on the youngsters. Eric and Sheila express their views that labourers have the right to “try for higher wagers”, Birling puts is foot down. The young are less hardened, but they are exposed to new ideas, and can do better for the labourers. They consider possibilities; Birling retorts that “there isn’t a chance of war.” He is trying to avoid the possibilities of his ruin. It is ironical that he mentions, “Look at the progress we’re making.” For further progress, the ideals and the efforts of the young are required. With Birling’s preconceived notions, society cannot progress to a fairer state. How can we hope for revolution with the young suppressed?
Birling’s bigotry is depicted in his male chauvinism. He treats females with less respect, and with contempt. He views them as mere toys. The discovery of Gerald’s amorous intrigue with Eva Smith does not perturb him. Gerald has committed an indiscretion by seducing Eva and betraying Sheila, and Sheila resents this. Birling, however, states that “you must understand that a lot of young men –” have libidinous flings. It does not anger him. He feels that it is all right in men to philander, but he does not respect Sheila’s resentment of Gerald’s indiscretion, and forces her to marry him. That portrays that he does not respect her rightful opinion. He has little admiration for womanly strength, insisting that “there isn’t the slightest reason why my daughter should be dragged into this unpleasant business.” To him, women are weak, and ought not to know about violence and strumpery. Girls at that time were expected to be innocent. Priestley feels that women should be given the right to know “unpleasant and disturbing things” and express their opinions. As a large component of the workforce, women are exposed to drudgery, knowledge and the ways of the world; they ought to have the right to defend themselves and give opinions. After the war, many men were killed. And women became more significant in the workforce. Should not capable women be free to speak? Being ignorant increases their vulnerability, and girls like Eva Smith do not have the protection of a male figure.
There is a suggestiveness conveyed by Priestley. Birling, as we know, is against Socialism. He does not believe in the possibility of war. “Just because the Kaiser makes a speech or two, or a few German officers … begin talking nonsense … there isn’t a chance of war … The world’s developing so fat …Look at the progress we’re making … we’ll have aeroplanes that will be able to go anywhere … you’ll be living in a world that’ll have forgotten all these Capital versus Labour agitations and all these silly little war scares.” Naturally, the First World War took place after this, in 1914, and the progress in technology aided it. The downtrodden revolted and fought for more equality, despite the fact that rich Capitalists pooh-poohed this notion. It is as though Priestley is telling the reader that although the capitalists believed otherwise, war occurred, and Socialism triumphed. The war caused more equality. Therefore, Priestley suggest, socialism, being an excellent ideal, gained victory, hence it is like a battle between “good and evil.” Priestley is cynical about monetary success under Capitalism. He feels contempt for Capitalists like Birling, who disdain Labour, and expressed this scorn by making Birling a hateable, despicable person.
The truth is beautiful. Birling strives to conceal Eric’s affair with Eva, in order to preserve his reputation. Why should we deny the facts? Birling, besides, disapproves of his daughter’s knowledge about his covetousness and Gerald’s indiscretion. Priestley detests pretension that comes with social stability. That way, we can administer justice and determine our responsibilities. Capitalists are supposed to be law abiding; they do not permit strikes. Yet the truth is veiled.
Therefore, it is evident that Priestley conveys his revolutionary opinions and attitudes toward society through this play, through subtle means. The characters serve as his puppet-like orators, but with an enthralling plot, influence the reader to think, reflect and analyse the differences between then and now. There are many opinions expressed in this drama, and we can discern Priestley’s wrath and contempt in Arthur Birling.
Marks: 12/12
Wednesday, October 31, 2007
Sonnets
Yesterday, my unconventional lit. teacher commanded each and every one of her unfortunate victims to write a sonnet. For amateurs, a sonnet is a poem with 14 lines each consisting of 10 syllables.
"Can I write about my dog?" pleaded a girl.
"Yes, you can. But NO FOOTBALL."
"You are butchering language noways," she declared, "with sms , I cannot even understand the terms you use. So-and-so, how do you sms Such-and-such?"
"I use correct English with him," my classmate protested.
"That's good. Only when you want a favour from me you use proper English. These people sent m,e a long sms in correct English asking for the themes in one of our topics. I replied N-O-P-E - very late reply." She smiled smugly. She proceeded ot deliver an educational harangue on how much more expressive writing proper letters and poetry is. I am afraid I have to agree with her here.
We learnt Elizabeth Barrett Browning's Sonnet#43:
Sonnet 43
by Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, -- I love thee with the breath,
Smiles, tears, of all my life! -- and, if God choose,
I shall but love thee better after death.
Everyone thought it was excessively sentimental. Our teacher then made a few handpicked unfortunates recite the poem in Chinese-opera style, Hindi-song style, dikir-barat style ... sadly, no one knew how to perfrom the two latter ...
"Can I write about my dog?" pleaded a girl.
"Yes, you can. But NO FOOTBALL."
"You are butchering language noways," she declared, "with sms , I cannot even understand the terms you use. So-and-so, how do you sms Such-and-such?"
"I use correct English with him," my classmate protested.
"That's good. Only when you want a favour from me you use proper English. These people sent m,e a long sms in correct English asking for the themes in one of our topics. I replied N-O-P-E - very late reply." She smiled smugly. She proceeded ot deliver an educational harangue on how much more expressive writing proper letters and poetry is. I am afraid I have to agree with her here.
We learnt Elizabeth Barrett Browning's Sonnet#43:
Sonnet 43
by Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, -- I love thee with the breath,
Smiles, tears, of all my life! -- and, if God choose,
I shall but love thee better after death.
Everyone thought it was excessively sentimental. Our teacher then made a few handpicked unfortunates recite the poem in Chinese-opera style, Hindi-song style, dikir-barat style ... sadly, no one knew how to perfrom the two latter ...
Friday, October 26, 2007
Analysis of Stnzas 6-8
Stanza 6: From here onwards, more symbolism and interesting interpretation can be derived. Yeats hopes that his daughter will grow and flourish with virtue and modesty. “May she become a flourishing hidden tree.” She must be “hidden” – not too open and opinionated like Maud Gonne. A “tree” is fresh, soothing and natural. He wants her to be calm, good-natured and natural – not over-influenced by opinionated ideas. (Why not a flower – which is a commonly used to symbolize a girl? Possibly a flower is too attractive and open. Refer to Stanza 3.)
Yeats wishes that Anne will have merry, pleasant thoughts. He wants her to talk of good, pleasant things. “That all her thoughts may like the linnet be, / And have no business but dispensing around / Their magnanimities of sound.” The linnet is a bird which flies, representing a merry, sweet, girl – not too serious, bombastic and violent like Maud Gonne.
Yeats wants Anne to chase and quarrel only in merriment. He wants her to be happy and not too ambitious or opinionated. “Nor but in merriment begin a chase,/ Nor but in merriment a quarrel.” He does not want her to “:chase” ambition ruthlessly. The “quarrel” indicated is mere arguing for fun.
Yeats wants Anne to have a solid home and top be stable. “Rooted in one dear perpetual place.” The home is happy, hence it is “dear.” This may also indicate loyalty to one man. Maud Gonne had consummated a relationship with Lucien Millevoye – with two illegitimate children – and gone on to marry John McBride. Yeats wants Anne to be constant to one man, unlike Maud Gonne.
“O may she live like some green laurel.” Here, Yeats uses mythology. The “green laurel” may refer to the nymph Daphne who was pursued by Apollo. Eager to protect her virtue, Daphne turned into a laurel tree. Similarly, Yeats wants Anne to be virtuous, unlike Maud Gonne. The word “green” in turn may symbolize peace, innocence and youth. We have already mentioned peace – in her home - and innocence. Anne’s youth is not physical but mental. Her father wishes that she will be merry and young at heart. Why green – not red or brown? Russet – reddish-brown – is associated with autumn or middle age and decline. Maud will fade and has declined due to her non-innocence. Her opinions do not denote one who is young at heart. Green denotes being young at heart. It also means inexperience or innocence – something merry, lively and different, a welcome change. For we say inexperienced people are “green”. Yeats does not what his daughter to be dreary and old at soul. Maud is certainly experienced; he wishes for Anne’s mental youth and innocence and vitality also represented by the colour green. For it may indicate evergreenness. Trees that are green are fresh and alive; russet trees are dying and fading. Maud declines because she is experienced and deflowered; her mental youth is gone. Hence Anne is the opposite – green. Anne, being “green” hopefully will retain mental youth with no worse change.
Tone: hopeful, prayer-like, more positive.
Literary devices: symbol - “hidden tree” – Anne, virtue and modesty
Symbol - “green laurel” – virtue, modesty, mental youth, evergreenness, innocence, inexperience.
Simile - “that all her thoughts may like the linnet be” – that Anne’s thoughts will be pleasant and merry.
Metaphor – “Rooted” – constancy and stability
Metaphor – “One dear perpetual place” – Anne’s home.
Stanza 7: Yeats states that his mind does not benefit but “has dried up of late” or weakened, tired and not stimulated because of the mind of Maud Gonne (whom “I have loved” and whose beauty he admired) barely prospers. He has mentioned her deficiencies. This weakens him. “My mind, because the minds that I have loved, ‘ The sort of beauty that I have approved, / Prosper but little, has dried up of late,”
However, he states that hatred is the worst attribute and “of all evil chances evil.”
“If there’s no hatred in a mind / Assault and battery of the wind / Can never tear the linnet away from the leaf.” The” wind” signifies the destructive forces around Anne and it “cannot tear” Anne – symbolized by a linnet – away form the “leaf” – a fragile place or condition. “Linnet and “leaf” portray something fragile. Sufferings and destructive forces cannot destroy the fragile who do not hate as their minds are clear, calm and free. Negative thoughts make us suffer.
Tone: Sad, stronger, confidents, lecture-like, reflective.
Literary devices: symbol - “wind” – destructive forces
Symbol - “linnet” – Anne
Symbol – “Leaf” – a fragile place or condition.
Personification – “Assault and battery of the wind” – destruction.
Stanza 8: “An intellectual hatred is the worst, / So let her think opinions are accursed.” The hatred of an opinionated intellectual like Maud gonne is the worst because it is strong, destructive, opinionated and the person knows the reason for this hatred. The intellectual resists opposition and fights for his cause. There are good reasons for this cause and hatred. Trivial hatred is weak, for there is little reason. An intellectual, being determined and clever, will fight for a cause with passion and determination. Yeats does not want Anne to be over-opinionated. “So let her think opinions are accursed.”
Yeats states that Maud Gonne had plentiful gifts which she did “barter that horn and every good / For an old bellows full of angry wind.” The horn symbolizes gifts. The “bellows full of angry wind” depict her strong opinions. It can also represent John McBride, who started a riot. Perhaps he could be said to be full of hot air or opinions but little successful effort. “and every good / By quiet natures understood” are her advantages which are understood and appreciated by people with quiet natures (Yeats?). This makes sense especially with McBride’s loudness and abuse of his wife. The “angry wind” is despicable (McBride). Maud did not use her gifts properly, though she had courtesy, grace, ceremony, and aristocracy.
Tone: Lecture-like, reflective, cynical.
Literary devices: Symbol - “Plenty’s horn,” symbolizing gifts and advantages.
Metaphor - “an old bellows full of angry wind” – Strong opinions, John John McBride (the abusive husband of Maud Gonne).
Yeats wishes that Anne will have merry, pleasant thoughts. He wants her to talk of good, pleasant things. “That all her thoughts may like the linnet be, / And have no business but dispensing around / Their magnanimities of sound.” The linnet is a bird which flies, representing a merry, sweet, girl – not too serious, bombastic and violent like Maud Gonne.
Yeats wants Anne to chase and quarrel only in merriment. He wants her to be happy and not too ambitious or opinionated. “Nor but in merriment begin a chase,/ Nor but in merriment a quarrel.” He does not want her to “:chase” ambition ruthlessly. The “quarrel” indicated is mere arguing for fun.
Yeats wants Anne to have a solid home and top be stable. “Rooted in one dear perpetual place.” The home is happy, hence it is “dear.” This may also indicate loyalty to one man. Maud Gonne had consummated a relationship with Lucien Millevoye – with two illegitimate children – and gone on to marry John McBride. Yeats wants Anne to be constant to one man, unlike Maud Gonne.
“O may she live like some green laurel.” Here, Yeats uses mythology. The “green laurel” may refer to the nymph Daphne who was pursued by Apollo. Eager to protect her virtue, Daphne turned into a laurel tree. Similarly, Yeats wants Anne to be virtuous, unlike Maud Gonne. The word “green” in turn may symbolize peace, innocence and youth. We have already mentioned peace – in her home - and innocence. Anne’s youth is not physical but mental. Her father wishes that she will be merry and young at heart. Why green – not red or brown? Russet – reddish-brown – is associated with autumn or middle age and decline. Maud will fade and has declined due to her non-innocence. Her opinions do not denote one who is young at heart. Green denotes being young at heart. It also means inexperience or innocence – something merry, lively and different, a welcome change. For we say inexperienced people are “green”. Yeats does not what his daughter to be dreary and old at soul. Maud is certainly experienced; he wishes for Anne’s mental youth and innocence and vitality also represented by the colour green. For it may indicate evergreenness. Trees that are green are fresh and alive; russet trees are dying and fading. Maud declines because she is experienced and deflowered; her mental youth is gone. Hence Anne is the opposite – green. Anne, being “green” hopefully will retain mental youth with no worse change.
Tone: hopeful, prayer-like, more positive.
Literary devices: symbol - “hidden tree” – Anne, virtue and modesty
Symbol - “green laurel” – virtue, modesty, mental youth, evergreenness, innocence, inexperience.
Simile - “that all her thoughts may like the linnet be” – that Anne’s thoughts will be pleasant and merry.
Metaphor – “Rooted” – constancy and stability
Metaphor – “One dear perpetual place” – Anne’s home.
Stanza 7: Yeats states that his mind does not benefit but “has dried up of late” or weakened, tired and not stimulated because of the mind of Maud Gonne (whom “I have loved” and whose beauty he admired) barely prospers. He has mentioned her deficiencies. This weakens him. “My mind, because the minds that I have loved, ‘ The sort of beauty that I have approved, / Prosper but little, has dried up of late,”
However, he states that hatred is the worst attribute and “of all evil chances evil.”
“If there’s no hatred in a mind / Assault and battery of the wind / Can never tear the linnet away from the leaf.” The” wind” signifies the destructive forces around Anne and it “cannot tear” Anne – symbolized by a linnet – away form the “leaf” – a fragile place or condition. “Linnet and “leaf” portray something fragile. Sufferings and destructive forces cannot destroy the fragile who do not hate as their minds are clear, calm and free. Negative thoughts make us suffer.
Tone: Sad, stronger, confidents, lecture-like, reflective.
Literary devices: symbol - “wind” – destructive forces
Symbol - “linnet” – Anne
Symbol – “Leaf” – a fragile place or condition.
Personification – “Assault and battery of the wind” – destruction.
Stanza 8: “An intellectual hatred is the worst, / So let her think opinions are accursed.” The hatred of an opinionated intellectual like Maud gonne is the worst because it is strong, destructive, opinionated and the person knows the reason for this hatred. The intellectual resists opposition and fights for his cause. There are good reasons for this cause and hatred. Trivial hatred is weak, for there is little reason. An intellectual, being determined and clever, will fight for a cause with passion and determination. Yeats does not want Anne to be over-opinionated. “So let her think opinions are accursed.”
Yeats states that Maud Gonne had plentiful gifts which she did “barter that horn and every good / For an old bellows full of angry wind.” The horn symbolizes gifts. The “bellows full of angry wind” depict her strong opinions. It can also represent John McBride, who started a riot. Perhaps he could be said to be full of hot air or opinions but little successful effort. “and every good / By quiet natures understood” are her advantages which are understood and appreciated by people with quiet natures (Yeats?). This makes sense especially with McBride’s loudness and abuse of his wife. The “angry wind” is despicable (McBride). Maud did not use her gifts properly, though she had courtesy, grace, ceremony, and aristocracy.
Tone: Lecture-like, reflective, cynical.
Literary devices: Symbol - “Plenty’s horn,” symbolizing gifts and advantages.
Metaphor - “an old bellows full of angry wind” – Strong opinions, John John McBride (the abusive husband of Maud Gonne).
A Prayer of My Daughter by WB Yeats - an analysis by Claire Wong
This poem was written by William Butler Yeats for his infant daughter, Anne. He worries about her. Maud Gonne was a radical, opinionated intelligent woman he had loved, but who had rejected his proposals. In this poem he vents his thoughts on her. Georgie Hyde Lees was his wife. ng, 4 Utarid
A Prayer for my Daughter by W.B. Yeats: An Analysis by Claire Wo
Stanza 1: The weather is a reflection of Yeats’ feelings. The post-war period was dangerous. Anne’s vulnerability and innocence is symbolised by the “cradle-hood” and “coverlid.”
“And half hid” shows that Anne is barely protected by the frail “coverlid.”
Anne is oblivious to the violent forces around her; she is ignorant (she “sleeps on”; she is not awake to the violence around her), hence she is “under this cradle-hood” which hides her and is unaffected. (The forces may be riots, violence, starvation, or decay of moral values.) “Under this cradlehood and coverlid/My child sleeps on.” Her ignorance protects her from the uneasy knowledge hence she “sleeps on.”
Robert Gregory died. His father could not protect him from death.
“The roof-levelling wind” is strong, representing frightening, turbulent forces.
“Where by the haystack- and roof-levelling wind,/Bred on the Atlantic, can be stayed.” USA was more comfortable compared to Europe. Turbulent forces or “wind” was less significant and more controlled in the USA. Hence it ca be “stayed” or controlled.
Yeats prays because he is gloomy; “great gloom …. In my mind.”
Tone: Frightening, precarious, gloomy.
Literary devices: personification – “the storm is howling” represents threatening external forces e.g. riots, evilness.
Roof-levelling wind represents turbulent forces.
Symbols - “Storm” represents outside forces which threaten Anne’s safety.
“cradlehood” represents Anne’s innocence and infancy.
“coverlid” represents innocence and ignorance, frail protection.
“wind” represents turbulent forces.
“one bare hill” may represent Robert’s death. (Why is the hill bare? Replies are appreciated.) The hill is empty, it may represent his death – there is no one to occupy it. Or it may be a hill where his tombstone lies. As I have said, I have no idea.
Metonym - The author may be mistaken but “Atlantic” may be the United States of America.
Rhyme scheme: aabbcddc
Stanza 2: Yeats is worried about Anne. “Ihave walked and prayed for this young child an hour.” The weather reflects the threatening forces he fears.
“Flooded stream” represents intense forces caused by people as it has strong forces. It is “flooded” because the troublemakers exist in large numbers or the forces are strong. The weather or external forces caused by the war are stormy and destructive. THe “elms” are tossed due to the destructive forces. People (possibly represented by “elms”) are affected.
Tone : intense, anxious, frenetic, chaotic.
This is rather desperate and pessimistic but there is a shift of mood. “Imagining …” When Yeats starts to imagine, he helps his daughter; he decides how she should turn out. This appeases his worries and gives him new ideas and food for thought.. He imagines how her future will be excitedly.
“Imagining…the future years had come/Dancing to a frenzied drum.” Anne’s life will pass in chaos. “Dancing to a frenzied drum” also indicates the passing years in Anne’s life which are represented by drum-beats (which have rhythm and tempo) – which also symbolize violence and chaos. It is a violent and chaotic time. The drum is “frenzied” because of the danger and chaos around Anne. Furthermore, Yeats is excited (hence frenzied) for her to grow up.
Anne’s innocence is juxtaposed with the contrasting “sea” which is “murderous.” The sea represents the world and the crowds around her, and as they are evil, destructive and take advantage of her innocence, they are “murderous.” Moreover, the “sea” or the world is termed as “murderous innocence” because as part of the “sea”, Anne’s innocence is ‘murderous’ to herself because it enables others to manipulate her.
Tone: frenetic, maddening, excited.
Literary devices: symbols - “sea wind” , “flooded stream” – turbulent forces
Personification - “future years … dancing” - the passing years of life
Juxtaposition/oxymoron/paradox – “murderous innocence of the sea”
Sibilance – “sea-wind scream”
Assonance:”sea-wind scream”
Onomatopoeia – “scream”
Stanza 3: Yeats hopes that Anne will be beautiful but not excessively. “May she be granted beauty and yet not/Beauty to make a stranger’s eye distraught.” Beauty is distracting and destructive, because it causes an admirer to be “distraught” and unhappy as a result of this unfulfilled desire to possess this beauty. Besides, he may desire her negatively and steal her innocence. It inspires passion which may be hopeless. She should not be vain and conceited of her beauty. “Or hers before a looking-glass.) Yeats fears that beauty will make her think that it is sufficient, for beauty would help her. Beautiful people being more attractive can benefit more, and with this attribute, Anne may think that she needs not perform acts of goodness, for her beauty is sufficient to place her in a position of security and acceptance. This causes her to lose “natural kindness”. She does not see or appreciate the values of kindness and virtue. She would think herself superior and strive less without helping others. They do not have to be kind and despise the physically undesirable. Furthermore, their beauty allows them to be fastidious in their choice of partners, having many admirers. Hence, they do not choose the right person as they have no heart or soul. “Lose … the heart-revealing intimacy/ That chooses right.” They cannot love truly and care for veneer and shallow qualities, for they cannot truly feel or know who “the one” is. They are sought for. The right person would in the end be more drawn to a good woman as shown in stanza 5. “Hearts are not had as a gift but hearts are earned.”
Beauty obstructs friendship as being as being beautiful causes one to be condescending, malicious and take things for granted. It causes the loss of human touch for the beautiful may tend to boast and despise their inferiors. They are not true friends. In another perspective, they do not form true friendships because others befriend them for the benefits derived from their appearance and even take advantage of them. The beautiful do not pay attention to those who make true friends as they believe themselves superior in beauty, fashion, etc. etc. Furthermore, excessive beauty results in jealousy and broken friendships. Another point to make is that beauty that over-entices may decrease Anne’s virtue and increase her vulnerability as others wish to use her. This is crucial as in this poem, Yeats emphasizes the need for feminine innocence.
In contrast, a plainer person being on a lower hierarchy will appreciate the importance of kindness. In this context, beauty is equated with society’s shallowness.
Tone: imploring, beseeching, prayer-like, reflective.
Literary devices: personification - “stranger’s eye distraught” - attracts and saddens one who is attracted
Symbol - the “stranger” is an unhappy admirer.
Alliteration - “stranger’s eye distraught”.
Stanza 4 : Yeats speaks of Greek mythology. Helen of Troy, being the most beautiful woman in the world, married Paris, a stupid man. Quote: “Helen being chosen found life flat and dull / And later had much trouble from a fool.” As she was greatly admired and revered for her beauty, life was boring with little strife.
“While that great queen, that rose out of the spray, ‘being fatherless could have her wasy/ Yet chose a bandy-legged smith for man.” Venus or Aphrodite, being fatherless, could marry as she pleased with no parental authority. Yet with all her power and advantages “chose a bandy-legged smith for man” (Hephaestus) – someone inferior to her. She had no father to guide her. Yeats intends to guide his daughter in the choice of a suitable spouse. Yeats is scornful: cultured women make mad choices in spouses. “Fine women eat/ A crazy salad with their meat.” Meat is substantial; salad is not. Meat represents
a fine lady who can be said to be “substantial,” having numerous qualities; the “crazy salad” is their dreadful mate, who is devoid of many qualities. They can have more, but choose worse.
The Horn of Plenty was a horn given by Zeus to his caretaker. The possessor of this Horn would be granted his wishes.
“Whereby the Horn of Plenty is undone.” This is because Maud Gonne squandered her gifts of intellect, grace and beauty and the benefits she could command by marrying John McBride. She could obtain what she desired with these gifts – similar to the Horn of Plenty – and wasted the aforementioned gifts on McBride. As the Horn of Plenty could bring victuals, John McBride is symbolized as an unsubstantial “salad.” Maud Gonne wasted her supposed power; she could have done better for herself, instead she made the wrong choice or desire.
Tone: cynical, sad, troubled, scornful.
Literary devices: symbol - “Helen”, “Queen” – a beautiful cultured woman or Maud Gonne
“Horn of plenty” - gifts, advantages.
Metaphor - “crazy salad” – an inferior spouse.
Stanza 5: Yeats wants Anne to be courteous. Love does not come freely and
unconditionally. “Hearts are not had as a gift but hearts are earned.” Love is not inspired by mere physical beauty; it is earned by good efforts “by those who are not entirely beautiful” who are kind and helpful. Those who have in stupidity made a fool of themselves by hopelessly loving beautiful women and thought it was reciprocated. “Yet many, tat have played the fool/ For beauty’s very self.” One may not be loved by a beautiful woman. “
“Charm” from a good woman has charmed a man eventually. “has charm made wise.” He becomes “wise” by realizing the goodness of loveing a good woman.
Unsuccessful men have loved and are loved by kind women who make them happy, yet are not beautiful. “Loved and thought himself beloved/ From a glad kindness cannot take his eyes.” She “cannot take his eyes” or maptivate him by sight because she is not physically beautiful. But her kindness makes him glad. This could be a reference to Yeats’ wife,, Georgie Hyde Lees who was not beautiful, but they had a happy marriage. Georgie loved him and let him take the credit for her work. The persona praises good unbeautiful women – like Georgie – who re more loved by men compared to harsh beautiful ones – Maud Gonne.
Tome: reflective, advisory, grateful, enlightened.
Literary devices: personification - “glad kindness cannot take his eys”
“charm made wise.”
Symbol - “hearts” – love.
This poem was written by William Butler Yeats for his infant daughter, Anne. He worries about her. Maud Gonne was a radical, opinionated intelligent woman he had loved, but who had rejected his proposals. In this poem he vents his thoughts on her. Georgie Hyde Lees was his wife.
A Prayer for my Daughter by W.B. Yeats: An Analysis by Claire Wong, 4 Utarid
Stanza 1: The weather is a reflection of Yeats’ feelings. The post-war period was dangerous. Anne’s vulnerability and innocence is symbolised by the “cradle-hood” and “coverlid.”
“And half hid” shows that Anne is barely protected by the frail “coverlid.”
Anne is oblivious to the violent forces around her; she is ignorant (she “sleeps on”; she is not awake to the violence around her), hence she is “under this cradle-hood” which hides her and is unaffected. (The forces may be riots, violence, starvation, or decay of moral values.) “Under this cradlehood and coverlid/My child sleeps on.” Her ignorance protects her from the uneasy knowledge hence she “sleeps on.”
Robert Gregory died. His father could not protect him from death.
“The roof-levelling wind” is strong, representing frightening, turbulent forces.
“Where by the haystack- and roof-levelling wind,/Bred on the Atlantic, can be stayed.” USA was more comfortable compared to Europe. Turbulent forces or “wind” was less significant and more controlled in the USA. Hence it ca be “stayed” or controlled.
Yeats prays because he is gloomy; “great gloom …. In my mind.”
Tone: Frightening, precarious, gloomy.
Literary devices: personification – “the storm is howling” represents threatening external forces e.g. riots, evilness.
Roof-levelling wind represents turbulent forces.
Symbols - “Storm” represents outside forces which threaten Anne’s safety.
“cradlehood” represents Anne’s innocence and infancy.
“coverlid” represents innocence and ignorance, frail protection.
“wind” represents turbulent forces.
“one bare hill” may represent Robert’s death. (Why is the hill bare? Replies are appreciated.) The hill is empty, it may represent his death – there is no one to occupy it. Or it may be a hill where his tombstone lies. As I have said, I have no idea.
Metonym - The author may be mistaken but “Atlantic” may be the United States of America.
Rhyme scheme: aabbcddc
Stanza 2: Yeats is worried about Anne. “Ihave walked and prayed for this young child an hour.” The weather reflects the threatening forces he fears.
“Flooded stream” represents intense forces caused by people as it has strong forces. It is “flooded” because the troublemakers exist in large numbers or the forces are strong. The weather or external forces caused by the war are stormy and destructive. THe “elms” are tossed due to the destructive forces. People (possibly represented by “elms”) are affected.
Tone : intense, anxious, frenetic, chaotic.
This is rather desperate and pessimistic but there is a shift of mood. “Imagining …” When Yeats starts to imagine, he helps his daughter; he decides how she should turn out. This appeases his worries and gives him new ideas and food for thought.. He imagines how her future will be excitedly.
“Imagining…the future years had come/Dancing to a frenzied drum.” Anne’s life will pass in chaos. “Dancing to a frenzied drum” also indicates the passing years in Anne’s life which are represented by drum-beats (which have rhythm and tempo) – which also symbolize violence and chaos. It is a violent and chaotic time. The drum is “frenzied” because of the danger and chaos around Anne. Furthermore, Yeats is excited (hence frenzied) for her to grow up.
Anne’s innocence is juxtaposed with the contrasting “sea” which is “murderous.” The sea represents the world and the crowds around her, and as they are evil, destructive and take advantage of her innocence, they are “murderous.” Moreover, the “sea” or the world is termed as “murderous innocence” because as part of the “sea”, Anne’s innocence is ‘murderous’ to herself because it enables others to manipulate her.
Tone: frenetic, maddening, excited.
Literary devices: symbols - “sea wind” , “flooded stream” – turbulent forces
Personification - “future years … dancing” - the passing years of life
Juxtaposition/oxymoron/paradox – “murderous innocence of the sea”
Sibilance – “sea-wind scream”
Assonance:”sea-wind scream”
Onomatopoeia – “scream”
Stanza 3: Yeats hopes that Anne will be beautiful but not excessively. “May she be granted beauty and yet not/Beauty to make a stranger’s eye distraught.” Beauty is distracting and destructive, because it causes an admirer to be “distraught” and unhappy as a result of this unfulfilled desire to possess this beauty. Besides, he may desire her negatively and steal her innocence. It inspires passion which may be hopeless. She should not be vain and conceited of her beauty. “Or hers before a looking-glass.) Yeats fears that beauty will make her think that it is sufficient, for beauty would help her. Beautiful people being more attractive can benefit more, and with this attribute, Anne may think that she needs not perform acts of goodness, for her beauty is sufficient to place her in a position of security and acceptance. This causes her to lose “natural kindness”. She does not see or appreciate the values of kindness and virtue. She would think herself superior and strive less without helping others. They do not have to be kind and despise the physically undesirable. Furthermore, their beauty allows them to be fastidious in their choice of partners, having many admirers. Hence, they do not choose the right person as they have no heart or soul. “Lose … the heart-revealing intimacy/ That chooses right.” They cannot love truly and care for veneer and shallow qualities, for they cannot truly feel or know who “the one” is. They are sought for. The right person would in the end be more drawn to a good woman as shown in stanza 5. “Hearts are not had as a gift but hearts are earned.”
Beauty obstructs friendship as being as being beautiful causes one to be condescending, malicious and take things for granted. It causes the loss of human touch for the beautiful may tend to boast and despise their inferiors. They are not true friends. In another perspective, they do not form true friendships because others befriend them for the benefits derived from their appearance and even take advantage of them. The beautiful do not pay attention to those who make true friends as they believe themselves superior in beauty, fashion, etc. etc. Furthermore, excessive beauty results in jealousy and broken friendships. Another point to make is that beauty that over-entices may decrease Anne’s virtue and increase her vulnerability as others wish to use her. This is crucial as in this poem, Yeats emphasizes the need for feminine innocence.
In contrast, a plainer person being on a lower hierarchy will appreciate the importance of kindness. In this context, beauty is equated with society’s shallowness.
Tone: imploring, beseeching, prayer-like, reflective.
Literary devices: personification - “stranger’s eye distraught” - attracts and saddens one who is attracted
Symbol - the “stranger” is an unhappy admirer.
Alliteration - “stranger’s eye distraught”.
Stanza 4 : Yeats speaks of Greek mythology. Helen of Troy, being the most beautiful woman in the world, married Paris, a stupid man. Quote: “Helen being chosen found life flat and dull / And later had much trouble from a fool.” As she was greatly admired and revered for her beauty, life was boring with little strife.
“While that great queen, that rose out of the spray, ‘being fatherless could have her wasy/ Yet chose a bandy-legged smith for man.” Venus or Aphrodite, being fatherless, could marry as she pleased with no parental authority. Yet with all her power and advantages “chose a bandy-legged smith for man” (Hephaestus) – someone inferior to her. She had no father to guide her. Yeats intends to guide his daughter in the choice of a suitable spouse. Yeats is scornful: cultured women make mad choices in spouses. “Fine women eat/ A crazy salad with their meat.” Meat is substantial; salad is not. Meat represents
a fine lady who can be said to be “substantial,” having numerous qualities; the “crazy salad” is their dreadful mate, who is devoid of many qualities. They can have more, but choose worse.
The Horn of Plenty was a horn given by Zeus to his caretaker. The possessor of this Horn would be granted his wishes.
“Whereby the Horn of Plenty is undone.” This is because Maud Gonne squandered her gifts of intellect, grace and beauty and the benefits she could command by marrying John McBride. She could obtain what she desired with these gifts – similar to the Horn of Plenty – and wasted the aforementioned gifts on McBride. As the Horn of Plenty could bring victuals, John McBride is symbolized as an unsubstantial “salad.” Maud Gonne wasted her supposed power; she could have done better for herself, instead she made the wrong choice or desire.
Tone: cynical, sad, troubled, scornful.
Literary devices: symbol - “Helen”, “Queen” – a beautiful cultured woman or Maud Gonne
“Horn of plenty” - gifts, advantages.
Metaphor - “crazy salad” – an inferior spouse.
Stanza 5: Yeats wants Anne to be courteous. Love does not come freely and
unconditionally. “Hearts are not had as a gift but hearts are earned.” Love is not inspired by mere physical beauty; it is earned by good efforts “by those who are not entirely beautiful” who are kind and helpful. Those who have in stupidity made a fool of themselves by hopelessly loving beautiful women and thought it was reciprocated. “Yet many, tat have played the fool/ For beauty’s very self.” One may not be loved by a beautiful woman. “
“Charm” from a good woman has charmed a man eventually. “has charm made wise.” He becomes “wise” by realizing the goodness of loveing a good woman.
Unsuccessful men have loved and are loved by kind women who make them happy, yet are not beautiful. “Loved and thought himself beloved/ From a glad kindness cannot take his eyes.” She “cannot take his eyes” or maptivate him by sight because she is not physically beautiful. But her kindness makes him glad. This could be a reference to Yeats’ wife,, Georgie Hyde Lees who was not beautiful, but they had a happy marriage. Georgie loved him and let him take the credit for her work. The persona praises good unbeautiful women – like Georgie – who re more loved by men compared to harsh beautiful ones – Maud Gonne.
Tome: reflective, advisory, grateful, enlightened.
Literary devices: personification - “glad kindness cannot take his eys”
“charm made wise.”
Symbol - “hearts” – love.
A Prayer for my Daughter by W.B. Yeats: An Analysis by Claire Wo
Stanza 1: The weather is a reflection of Yeats’ feelings. The post-war period was dangerous. Anne’s vulnerability and innocence is symbolised by the “cradle-hood” and “coverlid.”
“And half hid” shows that Anne is barely protected by the frail “coverlid.”
Anne is oblivious to the violent forces around her; she is ignorant (she “sleeps on”; she is not awake to the violence around her), hence she is “under this cradle-hood” which hides her and is unaffected. (The forces may be riots, violence, starvation, or decay of moral values.) “Under this cradlehood and coverlid/My child sleeps on.” Her ignorance protects her from the uneasy knowledge hence she “sleeps on.”
Robert Gregory died. His father could not protect him from death.
“The roof-levelling wind” is strong, representing frightening, turbulent forces.
“Where by the haystack- and roof-levelling wind,/Bred on the Atlantic, can be stayed.” USA was more comfortable compared to Europe. Turbulent forces or “wind” was less significant and more controlled in the USA. Hence it ca be “stayed” or controlled.
Yeats prays because he is gloomy; “great gloom …. In my mind.”
Tone: Frightening, precarious, gloomy.
Literary devices: personification – “the storm is howling” represents threatening external forces e.g. riots, evilness.
Roof-levelling wind represents turbulent forces.
Symbols - “Storm” represents outside forces which threaten Anne’s safety.
“cradlehood” represents Anne’s innocence and infancy.
“coverlid” represents innocence and ignorance, frail protection.
“wind” represents turbulent forces.
“one bare hill” may represent Robert’s death. (Why is the hill bare? Replies are appreciated.) The hill is empty, it may represent his death – there is no one to occupy it. Or it may be a hill where his tombstone lies. As I have said, I have no idea.
Metonym - The author may be mistaken but “Atlantic” may be the United States of America.
Rhyme scheme: aabbcddc
Stanza 2: Yeats is worried about Anne. “Ihave walked and prayed for this young child an hour.” The weather reflects the threatening forces he fears.
“Flooded stream” represents intense forces caused by people as it has strong forces. It is “flooded” because the troublemakers exist in large numbers or the forces are strong. The weather or external forces caused by the war are stormy and destructive. THe “elms” are tossed due to the destructive forces. People (possibly represented by “elms”) are affected.
Tone : intense, anxious, frenetic, chaotic.
This is rather desperate and pessimistic but there is a shift of mood. “Imagining …” When Yeats starts to imagine, he helps his daughter; he decides how she should turn out. This appeases his worries and gives him new ideas and food for thought.. He imagines how her future will be excitedly.
“Imagining…the future years had come/Dancing to a frenzied drum.” Anne’s life will pass in chaos. “Dancing to a frenzied drum” also indicates the passing years in Anne’s life which are represented by drum-beats (which have rhythm and tempo) – which also symbolize violence and chaos. It is a violent and chaotic time. The drum is “frenzied” because of the danger and chaos around Anne. Furthermore, Yeats is excited (hence frenzied) for her to grow up.
Anne’s innocence is juxtaposed with the contrasting “sea” which is “murderous.” The sea represents the world and the crowds around her, and as they are evil, destructive and take advantage of her innocence, they are “murderous.” Moreover, the “sea” or the world is termed as “murderous innocence” because as part of the “sea”, Anne’s innocence is ‘murderous’ to herself because it enables others to manipulate her.
Tone: frenetic, maddening, excited.
Literary devices: symbols - “sea wind” , “flooded stream” – turbulent forces
Personification - “future years … dancing” - the passing years of life
Juxtaposition/oxymoron/paradox – “murderous innocence of the sea”
Sibilance – “sea-wind scream”
Assonance:”sea-wind scream”
Onomatopoeia – “scream”
Stanza 3: Yeats hopes that Anne will be beautiful but not excessively. “May she be granted beauty and yet not/Beauty to make a stranger’s eye distraught.” Beauty is distracting and destructive, because it causes an admirer to be “distraught” and unhappy as a result of this unfulfilled desire to possess this beauty. Besides, he may desire her negatively and steal her innocence. It inspires passion which may be hopeless. She should not be vain and conceited of her beauty. “Or hers before a looking-glass.) Yeats fears that beauty will make her think that it is sufficient, for beauty would help her. Beautiful people being more attractive can benefit more, and with this attribute, Anne may think that she needs not perform acts of goodness, for her beauty is sufficient to place her in a position of security and acceptance. This causes her to lose “natural kindness”. She does not see or appreciate the values of kindness and virtue. She would think herself superior and strive less without helping others. They do not have to be kind and despise the physically undesirable. Furthermore, their beauty allows them to be fastidious in their choice of partners, having many admirers. Hence, they do not choose the right person as they have no heart or soul. “Lose … the heart-revealing intimacy/ That chooses right.” They cannot love truly and care for veneer and shallow qualities, for they cannot truly feel or know who “the one” is. They are sought for. The right person would in the end be more drawn to a good woman as shown in stanza 5. “Hearts are not had as a gift but hearts are earned.”
Beauty obstructs friendship as being as being beautiful causes one to be condescending, malicious and take things for granted. It causes the loss of human touch for the beautiful may tend to boast and despise their inferiors. They are not true friends. In another perspective, they do not form true friendships because others befriend them for the benefits derived from their appearance and even take advantage of them. The beautiful do not pay attention to those who make true friends as they believe themselves superior in beauty, fashion, etc. etc. Furthermore, excessive beauty results in jealousy and broken friendships. Another point to make is that beauty that over-entices may decrease Anne’s virtue and increase her vulnerability as others wish to use her. This is crucial as in this poem, Yeats emphasizes the need for feminine innocence.
In contrast, a plainer person being on a lower hierarchy will appreciate the importance of kindness. In this context, beauty is equated with society’s shallowness.
Tone: imploring, beseeching, prayer-like, reflective.
Literary devices: personification - “stranger’s eye distraught” - attracts and saddens one who is attracted
Symbol - the “stranger” is an unhappy admirer.
Alliteration - “stranger’s eye distraught”.
Stanza 4 : Yeats speaks of Greek mythology. Helen of Troy, being the most beautiful woman in the world, married Paris, a stupid man. Quote: “Helen being chosen found life flat and dull / And later had much trouble from a fool.” As she was greatly admired and revered for her beauty, life was boring with little strife.
“While that great queen, that rose out of the spray, ‘being fatherless could have her wasy/ Yet chose a bandy-legged smith for man.” Venus or Aphrodite, being fatherless, could marry as she pleased with no parental authority. Yet with all her power and advantages “chose a bandy-legged smith for man” (Hephaestus) – someone inferior to her. She had no father to guide her. Yeats intends to guide his daughter in the choice of a suitable spouse. Yeats is scornful: cultured women make mad choices in spouses. “Fine women eat/ A crazy salad with their meat.” Meat is substantial; salad is not. Meat represents
a fine lady who can be said to be “substantial,” having numerous qualities; the “crazy salad” is their dreadful mate, who is devoid of many qualities. They can have more, but choose worse.
The Horn of Plenty was a horn given by Zeus to his caretaker. The possessor of this Horn would be granted his wishes.
“Whereby the Horn of Plenty is undone.” This is because Maud Gonne squandered her gifts of intellect, grace and beauty and the benefits she could command by marrying John McBride. She could obtain what she desired with these gifts – similar to the Horn of Plenty – and wasted the aforementioned gifts on McBride. As the Horn of Plenty could bring victuals, John McBride is symbolized as an unsubstantial “salad.” Maud Gonne wasted her supposed power; she could have done better for herself, instead she made the wrong choice or desire.
Tone: cynical, sad, troubled, scornful.
Literary devices: symbol - “Helen”, “Queen” – a beautiful cultured woman or Maud Gonne
“Horn of plenty” - gifts, advantages.
Metaphor - “crazy salad” – an inferior spouse.
Stanza 5: Yeats wants Anne to be courteous. Love does not come freely and
unconditionally. “Hearts are not had as a gift but hearts are earned.” Love is not inspired by mere physical beauty; it is earned by good efforts “by those who are not entirely beautiful” who are kind and helpful. Those who have in stupidity made a fool of themselves by hopelessly loving beautiful women and thought it was reciprocated. “Yet many, tat have played the fool/ For beauty’s very self.” One may not be loved by a beautiful woman. “
“Charm” from a good woman has charmed a man eventually. “has charm made wise.” He becomes “wise” by realizing the goodness of loveing a good woman.
Unsuccessful men have loved and are loved by kind women who make them happy, yet are not beautiful. “Loved and thought himself beloved/ From a glad kindness cannot take his eyes.” She “cannot take his eyes” or maptivate him by sight because she is not physically beautiful. But her kindness makes him glad. This could be a reference to Yeats’ wife,, Georgie Hyde Lees who was not beautiful, but they had a happy marriage. Georgie loved him and let him take the credit for her work. The persona praises good unbeautiful women – like Georgie – who re more loved by men compared to harsh beautiful ones – Maud Gonne.
Tome: reflective, advisory, grateful, enlightened.
Literary devices: personification - “glad kindness cannot take his eys”
“charm made wise.”
Symbol - “hearts” – love.
This poem was written by William Butler Yeats for his infant daughter, Anne. He worries about her. Maud Gonne was a radical, opinionated intelligent woman he had loved, but who had rejected his proposals. In this poem he vents his thoughts on her. Georgie Hyde Lees was his wife.
A Prayer for my Daughter by W.B. Yeats: An Analysis by Claire Wong, 4 Utarid
Stanza 1: The weather is a reflection of Yeats’ feelings. The post-war period was dangerous. Anne’s vulnerability and innocence is symbolised by the “cradle-hood” and “coverlid.”
“And half hid” shows that Anne is barely protected by the frail “coverlid.”
Anne is oblivious to the violent forces around her; she is ignorant (she “sleeps on”; she is not awake to the violence around her), hence she is “under this cradle-hood” which hides her and is unaffected. (The forces may be riots, violence, starvation, or decay of moral values.) “Under this cradlehood and coverlid/My child sleeps on.” Her ignorance protects her from the uneasy knowledge hence she “sleeps on.”
Robert Gregory died. His father could not protect him from death.
“The roof-levelling wind” is strong, representing frightening, turbulent forces.
“Where by the haystack- and roof-levelling wind,/Bred on the Atlantic, can be stayed.” USA was more comfortable compared to Europe. Turbulent forces or “wind” was less significant and more controlled in the USA. Hence it ca be “stayed” or controlled.
Yeats prays because he is gloomy; “great gloom …. In my mind.”
Tone: Frightening, precarious, gloomy.
Literary devices: personification – “the storm is howling” represents threatening external forces e.g. riots, evilness.
Roof-levelling wind represents turbulent forces.
Symbols - “Storm” represents outside forces which threaten Anne’s safety.
“cradlehood” represents Anne’s innocence and infancy.
“coverlid” represents innocence and ignorance, frail protection.
“wind” represents turbulent forces.
“one bare hill” may represent Robert’s death. (Why is the hill bare? Replies are appreciated.) The hill is empty, it may represent his death – there is no one to occupy it. Or it may be a hill where his tombstone lies. As I have said, I have no idea.
Metonym - The author may be mistaken but “Atlantic” may be the United States of America.
Rhyme scheme: aabbcddc
Stanza 2: Yeats is worried about Anne. “Ihave walked and prayed for this young child an hour.” The weather reflects the threatening forces he fears.
“Flooded stream” represents intense forces caused by people as it has strong forces. It is “flooded” because the troublemakers exist in large numbers or the forces are strong. The weather or external forces caused by the war are stormy and destructive. THe “elms” are tossed due to the destructive forces. People (possibly represented by “elms”) are affected.
Tone : intense, anxious, frenetic, chaotic.
This is rather desperate and pessimistic but there is a shift of mood. “Imagining …” When Yeats starts to imagine, he helps his daughter; he decides how she should turn out. This appeases his worries and gives him new ideas and food for thought.. He imagines how her future will be excitedly.
“Imagining…the future years had come/Dancing to a frenzied drum.” Anne’s life will pass in chaos. “Dancing to a frenzied drum” also indicates the passing years in Anne’s life which are represented by drum-beats (which have rhythm and tempo) – which also symbolize violence and chaos. It is a violent and chaotic time. The drum is “frenzied” because of the danger and chaos around Anne. Furthermore, Yeats is excited (hence frenzied) for her to grow up.
Anne’s innocence is juxtaposed with the contrasting “sea” which is “murderous.” The sea represents the world and the crowds around her, and as they are evil, destructive and take advantage of her innocence, they are “murderous.” Moreover, the “sea” or the world is termed as “murderous innocence” because as part of the “sea”, Anne’s innocence is ‘murderous’ to herself because it enables others to manipulate her.
Tone: frenetic, maddening, excited.
Literary devices: symbols - “sea wind” , “flooded stream” – turbulent forces
Personification - “future years … dancing” - the passing years of life
Juxtaposition/oxymoron/paradox – “murderous innocence of the sea”
Sibilance – “sea-wind scream”
Assonance:”sea-wind scream”
Onomatopoeia – “scream”
Stanza 3: Yeats hopes that Anne will be beautiful but not excessively. “May she be granted beauty and yet not/Beauty to make a stranger’s eye distraught.” Beauty is distracting and destructive, because it causes an admirer to be “distraught” and unhappy as a result of this unfulfilled desire to possess this beauty. Besides, he may desire her negatively and steal her innocence. It inspires passion which may be hopeless. She should not be vain and conceited of her beauty. “Or hers before a looking-glass.) Yeats fears that beauty will make her think that it is sufficient, for beauty would help her. Beautiful people being more attractive can benefit more, and with this attribute, Anne may think that she needs not perform acts of goodness, for her beauty is sufficient to place her in a position of security and acceptance. This causes her to lose “natural kindness”. She does not see or appreciate the values of kindness and virtue. She would think herself superior and strive less without helping others. They do not have to be kind and despise the physically undesirable. Furthermore, their beauty allows them to be fastidious in their choice of partners, having many admirers. Hence, they do not choose the right person as they have no heart or soul. “Lose … the heart-revealing intimacy/ That chooses right.” They cannot love truly and care for veneer and shallow qualities, for they cannot truly feel or know who “the one” is. They are sought for. The right person would in the end be more drawn to a good woman as shown in stanza 5. “Hearts are not had as a gift but hearts are earned.”
Beauty obstructs friendship as being as being beautiful causes one to be condescending, malicious and take things for granted. It causes the loss of human touch for the beautiful may tend to boast and despise their inferiors. They are not true friends. In another perspective, they do not form true friendships because others befriend them for the benefits derived from their appearance and even take advantage of them. The beautiful do not pay attention to those who make true friends as they believe themselves superior in beauty, fashion, etc. etc. Furthermore, excessive beauty results in jealousy and broken friendships. Another point to make is that beauty that over-entices may decrease Anne’s virtue and increase her vulnerability as others wish to use her. This is crucial as in this poem, Yeats emphasizes the need for feminine innocence.
In contrast, a plainer person being on a lower hierarchy will appreciate the importance of kindness. In this context, beauty is equated with society’s shallowness.
Tone: imploring, beseeching, prayer-like, reflective.
Literary devices: personification - “stranger’s eye distraught” - attracts and saddens one who is attracted
Symbol - the “stranger” is an unhappy admirer.
Alliteration - “stranger’s eye distraught”.
Stanza 4 : Yeats speaks of Greek mythology. Helen of Troy, being the most beautiful woman in the world, married Paris, a stupid man. Quote: “Helen being chosen found life flat and dull / And later had much trouble from a fool.” As she was greatly admired and revered for her beauty, life was boring with little strife.
“While that great queen, that rose out of the spray, ‘being fatherless could have her wasy/ Yet chose a bandy-legged smith for man.” Venus or Aphrodite, being fatherless, could marry as she pleased with no parental authority. Yet with all her power and advantages “chose a bandy-legged smith for man” (Hephaestus) – someone inferior to her. She had no father to guide her. Yeats intends to guide his daughter in the choice of a suitable spouse. Yeats is scornful: cultured women make mad choices in spouses. “Fine women eat/ A crazy salad with their meat.” Meat is substantial; salad is not. Meat represents
a fine lady who can be said to be “substantial,” having numerous qualities; the “crazy salad” is their dreadful mate, who is devoid of many qualities. They can have more, but choose worse.
The Horn of Plenty was a horn given by Zeus to his caretaker. The possessor of this Horn would be granted his wishes.
“Whereby the Horn of Plenty is undone.” This is because Maud Gonne squandered her gifts of intellect, grace and beauty and the benefits she could command by marrying John McBride. She could obtain what she desired with these gifts – similar to the Horn of Plenty – and wasted the aforementioned gifts on McBride. As the Horn of Plenty could bring victuals, John McBride is symbolized as an unsubstantial “salad.” Maud Gonne wasted her supposed power; she could have done better for herself, instead she made the wrong choice or desire.
Tone: cynical, sad, troubled, scornful.
Literary devices: symbol - “Helen”, “Queen” – a beautiful cultured woman or Maud Gonne
“Horn of plenty” - gifts, advantages.
Metaphor - “crazy salad” – an inferior spouse.
Stanza 5: Yeats wants Anne to be courteous. Love does not come freely and
unconditionally. “Hearts are not had as a gift but hearts are earned.” Love is not inspired by mere physical beauty; it is earned by good efforts “by those who are not entirely beautiful” who are kind and helpful. Those who have in stupidity made a fool of themselves by hopelessly loving beautiful women and thought it was reciprocated. “Yet many, tat have played the fool/ For beauty’s very self.” One may not be loved by a beautiful woman. “
“Charm” from a good woman has charmed a man eventually. “has charm made wise.” He becomes “wise” by realizing the goodness of loveing a good woman.
Unsuccessful men have loved and are loved by kind women who make them happy, yet are not beautiful. “Loved and thought himself beloved/ From a glad kindness cannot take his eyes.” She “cannot take his eyes” or maptivate him by sight because she is not physically beautiful. But her kindness makes him glad. This could be a reference to Yeats’ wife,, Georgie Hyde Lees who was not beautiful, but they had a happy marriage. Georgie loved him and let him take the credit for her work. The persona praises good unbeautiful women – like Georgie – who re more loved by men compared to harsh beautiful ones – Maud Gonne.
Tome: reflective, advisory, grateful, enlightened.
Literary devices: personification - “glad kindness cannot take his eys”
“charm made wise.”
Symbol - “hearts” – love.
Wednesday, September 5, 2007
THe SMKSH Literature Class - a Narrative
On 17/8, we had a Lit. class. I rushed up to the class, panting for breath and demanded D to follow me downstairs. Unfortunately, my endeavour to obtain more test papers was unsuccessful. (My close friends should undertand what this means.)
So we went up, fatigued with all the running and settled down.
"Today," said Pn. Y., "we'll be discussing the poem The Way Things Are. I know you don't like it, A, but it cannot be helped because that is the way things are. We are far behind and must catch up."
A looked crushed. "I prefer (suggesting another literary assignment)."
"I am sorry, but we have to learn it today, because that is the way things are." She went on saying we had to do this because "that is the way things are."
"Very witty," I thought.
"Who's born in August? I've got your birthday cake. It's made of chocolate biscuits. THere's soy bean milk and your coffee. Help yourselves."
THe four girls - all Leos and all born in August - stepped forward, and the rest of the class sang "Happy birthday."
"Happy birthday to you, you are born in the zoo," intoned the cheeky Cheese. All four of us blew the candles, wished and shared the knife between us. WE cut badly.
Pn. Y. cut the cake into blocks for us. It was covered with chocolate sauce. wE each took a piece, and headed towards the table behind to pour out our drinks. Indeed, the most enjoyable Lit. lessons I've had took place in this classroom. It is a custom for us to drink coffee and Milo during Lit. provided by our amiable teacher.
"TEam up into pairs," said Pn. Y., "and discuss between yourselves the meaning of one stanza. Write your opinions on a sheet of paper and paste it to the whiteboard. I'm not going to do all the thinking for you." This we did.
Then she walked over to the board and analysed the first stanza. We did the rest.
It was all rather jolly. THe pupils could offer their own opinions and write them down if they differd from what the original teams wrote.
A had an intersting idea: she thought that the child thought the lighthouse was a rocket. After all, rockets are launched. Listen up, Lit. students!
"THe duller the imagination, the faster the car." I interpreted it as "Our imaginations are so dull that we can only make cars faster, instead of inventing environmentally-friendly cars." AS I have said, this blog was strted to encourage literature and improve others' knowledge about it.
To be continued ...
So we went up, fatigued with all the running and settled down.
"Today," said Pn. Y., "we'll be discussing the poem The Way Things Are. I know you don't like it, A, but it cannot be helped because that is the way things are. We are far behind and must catch up."
A looked crushed. "I prefer (suggesting another literary assignment)."
"I am sorry, but we have to learn it today, because that is the way things are." She went on saying we had to do this because "that is the way things are."
"Very witty," I thought.
"Who's born in August? I've got your birthday cake. It's made of chocolate biscuits. THere's soy bean milk and your coffee. Help yourselves."
THe four girls - all Leos and all born in August - stepped forward, and the rest of the class sang "Happy birthday."
"Happy birthday to you, you are born in the zoo," intoned the cheeky Cheese. All four of us blew the candles, wished and shared the knife between us. WE cut badly.
Pn. Y. cut the cake into blocks for us. It was covered with chocolate sauce. wE each took a piece, and headed towards the table behind to pour out our drinks. Indeed, the most enjoyable Lit. lessons I've had took place in this classroom. It is a custom for us to drink coffee and Milo during Lit. provided by our amiable teacher.
"TEam up into pairs," said Pn. Y., "and discuss between yourselves the meaning of one stanza. Write your opinions on a sheet of paper and paste it to the whiteboard. I'm not going to do all the thinking for you." This we did.
Then she walked over to the board and analysed the first stanza. We did the rest.
It was all rather jolly. THe pupils could offer their own opinions and write them down if they differd from what the original teams wrote.
A had an intersting idea: she thought that the child thought the lighthouse was a rocket. After all, rockets are launched. Listen up, Lit. students!
"THe duller the imagination, the faster the car." I interpreted it as "Our imaginations are so dull that we can only make cars faster, instead of inventing environmentally-friendly cars." AS I have said, this blog was strted to encourage literature and improve others' knowledge about it.
To be continued ...
Saturday, September 1, 2007
Defiance
I'm a sentimental person
Who weeps upon a book,
There is no sound reason
Why I shouldn't be a sentimental person,
So kindly withdraw your disapproving looks.
Why should my face not reside in gloom?
Why should I not mourn in sorrow?
I have the right to wish my tomb
Would arrive for my tomorrow.
Oh, let me be a pessimist!
I shall sulk and frown and boom -
And I shall tear my thoughts from the midst,
Step, to declare to days of doom.
Who weeps upon a book,
There is no sound reason
Why I shouldn't be a sentimental person,
So kindly withdraw your disapproving looks.
Why should my face not reside in gloom?
Why should I not mourn in sorrow?
I have the right to wish my tomb
Would arrive for my tomorrow.
Oh, let me be a pessimist!
I shall sulk and frown and boom -
And I shall tear my thoughts from the midst,
Step, to declare to days of doom.
Does any of you write fiction? I would like to hear from you. This is how my 19th-century heroine feels upon discovering her undying love for her university friend:
Thought I at that sweet time, those faraway days
THat spirits lifted, and dark eyes kindled
As due to fleeting, girlish fancies stray'd,
And what of quicken'd feet and quiv'ring pulse -
Of slow, sunken heart and murm'ring sighs?
My soul had risen from perpetual lulls
To heights that flew from placid dull;
The Arts, that fine Drama had inflamed my mind
,Released the other from constant bind?Forc'd into my very thoughts
Another reason I could not have willingly brought
To bear in words. - I refused to hear
What silent voices whisper'd into mind's ear.
Nay! - I shall sound them out
And let my feelings bloom and sprout
That I can no longer deny my Will,
For Passion shall not droop, resterain'd and still
THat I love you, dearest! It cannot be denied
Or thwarted, or drown'd, or desp'rately lied.
Goodness knows how long I struggled with thee
Bitterly, passionately, I strove to free -
Myself from this entanglement. - Nay, do not leave
But let me speak before you hastily perceive.
By Claire Wong.
Thought I at that sweet time, those faraway days
THat spirits lifted, and dark eyes kindled
As due to fleeting, girlish fancies stray'd,
And what of quicken'd feet and quiv'ring pulse -
Of slow, sunken heart and murm'ring sighs?
My soul had risen from perpetual lulls
To heights that flew from placid dull;
The Arts, that fine Drama had inflamed my mind
,Released the other from constant bind?Forc'd into my very thoughts
Another reason I could not have willingly brought
To bear in words. - I refused to hear
What silent voices whisper'd into mind's ear.
Nay! - I shall sound them out
And let my feelings bloom and sprout
That I can no longer deny my Will,
For Passion shall not droop, resterain'd and still
THat I love you, dearest! It cannot be denied
Or thwarted, or drown'd, or desp'rately lied.
Goodness knows how long I struggled with thee
Bitterly, passionately, I strove to free -
Myself from this entanglement. - Nay, do not leave
But let me speak before you hastily perceive.
By Claire Wong.
An Ode to My FAther's Birthday
An Ode to My Father’s Birthday
Others call it an awaited holiday,
Yet to me, there’s special worth
Far more than cheers and celebratory mirth –
August thirty-first commemorates your birth.
Why should we frown at dance?
Why scorn song and childlike prance?
Oh, revivalist of musical plays!
Of Pygmalion’s Victorian days –
It’s the humour in your song,
That on days when things go wrong –
And sulking, temper’d vile;
Yet helplessly, to my face there creeps a smile,
And when you tell of Spanish intrigues,
When young swains for ladies seek,
“Clutch a rose betwixt his teeth,” you suggest;
Out of barren nothings you make a jest.
When you speak of military warfare,
There’s reflection and certain flair –
In history and bygone politics,
You speak; others admire your semantics.
Oh, dear Daddy, why dost thou support a dish?
Resembling a porpentine cross’d with catfish,
Where shouts and punches erupt galore
Who is insensitive to the very core.
Yet, when you smile, it spreads like warmth,
Wide and friendly, joy springs forth,
Within, my ribcage rises, rumbles,
There’s and urge to burst out laughing
In your mischief-intention’d fumbles.
Oh, author of my spirit!
You dear old sensitive soul,
People laugh, but so may be it!
Yet having yet disclosed the whole,
Let me halt, let me say,
“Dear old parent, happy birthday!”
31st August 2007.
Others call it an awaited holiday,
Yet to me, there’s special worth
Far more than cheers and celebratory mirth –
August thirty-first commemorates your birth.
Why should we frown at dance?
Why scorn song and childlike prance?
Oh, revivalist of musical plays!
Of Pygmalion’s Victorian days –
It’s the humour in your song,
That on days when things go wrong –
And sulking, temper’d vile;
Yet helplessly, to my face there creeps a smile,
And when you tell of Spanish intrigues,
When young swains for ladies seek,
“Clutch a rose betwixt his teeth,” you suggest;
Out of barren nothings you make a jest.
When you speak of military warfare,
There’s reflection and certain flair –
In history and bygone politics,
You speak; others admire your semantics.
Oh, dear Daddy, why dost thou support a dish?
Resembling a porpentine cross’d with catfish,
Where shouts and punches erupt galore
Who is insensitive to the very core.
Yet, when you smile, it spreads like warmth,
Wide and friendly, joy springs forth,
Within, my ribcage rises, rumbles,
There’s and urge to burst out laughing
In your mischief-intention’d fumbles.
Oh, author of my spirit!
You dear old sensitive soul,
People laugh, but so may be it!
Yet having yet disclosed the whole,
Let me halt, let me say,
“Dear old parent, happy birthday!”
31st August 2007.
My Fair Lady
I'm an Ordinary Man lyrics
after all, Pickering, I'm an ordinary man,Who desires nothing more than just an ordinary chance, to live exactly as he likes, and do precisely what he wants... An average man am I, of no eccentric whim, Who likes to live his life, free of strife, doing whatever he thinks is best, for him, ... just an ordinary man... BUT, Let a woman in your life and your serenity is through, she'll redecorate your home, from the cellar to the dome, and then go on to the enthralling fun of overhauling you...OH!Let a woman in your life,
and you're up against a wall, make a plan and you will find,she has something else in mind, and so rather than do either you do something else that neither likes at all
You want to talk of Keats or Milton, she only wants to talk of love,You go to see a play or ballet, and spend it searching for her glove,Oh!Let a woman in your life and you invite eternal strife, Let them buy their wedding bands for those anxious little hands...I'd be equally as willing for a dentist to be drilling than to ever let a woman in my life.
I'm a very gentle man, even tempered and good natured who you never hear complain, Who has the milk of human kindness by the quart in every vein,A patient man am I, down to my fingertips, the sort who never could, ever would,let an insulting remark escape his lips A Very gentle man... But, Let a woman in your life, and patience hasn't got a chance,she will beg you for advice,
your reply will be concise, and she will listen very nicely,
and then go out and do precisely what she wants!!!
You are a man of grace and polish, who never spoke above a hush, now all at once you're using language
that would make a sailor blush,
OH!Let a woman in your life, and you're plunging in a knife, Let the others of my sex,
tie the knot around their necks, I prefer a new edition of the Spanish Inquisition than to ever let a woman in my life
I'm a quiet living man, who prefers to spend the evening in the silence of his room, who likes an atmosphere as restful as an undiscovered tomb,A pensive man am I, of philosophical joys, who likes to meditate, contemplate, far from humanities mad inhuman noise, Just a Quiet living man.... But, let a woman in your life,
and your sabbatical is through, in a line that never ends comes an army of her friends, come to jabber and to chatter and to tell her what the matter is with YOU!, she'll have a booming boisterous family, who will descend on you en mass, she'll have a large wagnarian mother, with a voice that shatters glass, OH!Let a woman in your life, Let a woman in your life, Let a woman in your life …
I shall never let a woman in my life.
This is a most amusing song from My Fair Lady.
after all, Pickering, I'm an ordinary man,Who desires nothing more than just an ordinary chance, to live exactly as he likes, and do precisely what he wants... An average man am I, of no eccentric whim, Who likes to live his life, free of strife, doing whatever he thinks is best, for him, ... just an ordinary man... BUT, Let a woman in your life and your serenity is through, she'll redecorate your home, from the cellar to the dome, and then go on to the enthralling fun of overhauling you...OH!Let a woman in your life,
and you're up against a wall, make a plan and you will find,she has something else in mind, and so rather than do either you do something else that neither likes at all
You want to talk of Keats or Milton, she only wants to talk of love,You go to see a play or ballet, and spend it searching for her glove,Oh!Let a woman in your life and you invite eternal strife, Let them buy their wedding bands for those anxious little hands...I'd be equally as willing for a dentist to be drilling than to ever let a woman in my life.
I'm a very gentle man, even tempered and good natured who you never hear complain, Who has the milk of human kindness by the quart in every vein,A patient man am I, down to my fingertips, the sort who never could, ever would,let an insulting remark escape his lips A Very gentle man... But, Let a woman in your life, and patience hasn't got a chance,she will beg you for advice,
your reply will be concise, and she will listen very nicely,
and then go out and do precisely what she wants!!!
You are a man of grace and polish, who never spoke above a hush, now all at once you're using language
that would make a sailor blush,
OH!Let a woman in your life, and you're plunging in a knife, Let the others of my sex,
tie the knot around their necks, I prefer a new edition of the Spanish Inquisition than to ever let a woman in my life
I'm a quiet living man, who prefers to spend the evening in the silence of his room, who likes an atmosphere as restful as an undiscovered tomb,A pensive man am I, of philosophical joys, who likes to meditate, contemplate, far from humanities mad inhuman noise, Just a Quiet living man.... But, let a woman in your life,
and your sabbatical is through, in a line that never ends comes an army of her friends, come to jabber and to chatter and to tell her what the matter is with YOU!, she'll have a booming boisterous family, who will descend on you en mass, she'll have a large wagnarian mother, with a voice that shatters glass, OH!Let a woman in your life, Let a woman in your life, Let a woman in your life …
I shall never let a woman in my life.
This is a most amusing song from My Fair Lady.
Friday, August 31, 2007
A Poem by E.E. Cummings
if there are any heavens
if there are any heavens my mother will(all by herself)have
one. It will not be a pansy heaven or
a fragile heaven of lilies-of-the-valley but
it will be a heaven of blackred roses
my father will be(deep like a rose
tall like a rose)
standing near my
swaying over her
(silent)
with eyes which are really petals and see
nothing with the face of a poet really which
is a flower and not a face with
hands
which whisper
This is my beloved my
(suddenly in sunlight
he will bow,
and the whole garden will bow)
What do the brackets indicate? Are they stage directions?
THis is actually a boring poem, but I am bringing it out because there's room for analysis. It is also part of this year's Lit. syllabus.
Why a face with hands? What does it mean?
Notice that the dialogues do not contain the word"mother." This may mean that the persona feels he is unworthy of his mother, or else she is an abstract being, unreal. She seems not to exist, perhaps she is too good, or mentioning her makes her seem like any other common person. The poet wishes to convey she is different, and unworthy of a normal appellation.As she is not dead, and it is not time foir hr to die, the flowers cannot call her yet by name; she is not there yet.
Then, on the other hand, there is a new interpretation. AS thre are many flowers or denizens in that heaven, you cannot say "mother" or "wife" as the mother is not the mother or wife of the other flowers. So what to say? Each will say something different. Hence, the blank. yournimagination fills it. It is free; it varies for each flower.
I hope this will help 2007 Form 5
SPM Lit. tudents who are confused about this poem.
if there are any heavens my mother will(all by herself)have
one. It will not be a pansy heaven or
a fragile heaven of lilies-of-the-valley but
it will be a heaven of blackred roses
my father will be(deep like a rose
tall like a rose)
standing near my
swaying over her
(silent)
with eyes which are really petals and see
nothing with the face of a poet really which
is a flower and not a face with
hands
which whisper
This is my beloved my
(suddenly in sunlight
he will bow,
and the whole garden will bow)
What do the brackets indicate? Are they stage directions?
THis is actually a boring poem, but I am bringing it out because there's room for analysis. It is also part of this year's Lit. syllabus.
Why a face with hands? What does it mean?
Notice that the dialogues do not contain the word"mother." This may mean that the persona feels he is unworthy of his mother, or else she is an abstract being, unreal. She seems not to exist, perhaps she is too good, or mentioning her makes her seem like any other common person. The poet wishes to convey she is different, and unworthy of a normal appellation.As she is not dead, and it is not time foir hr to die, the flowers cannot call her yet by name; she is not there yet.
Then, on the other hand, there is a new interpretation. AS thre are many flowers or denizens in that heaven, you cannot say "mother" or "wife" as the mother is not the mother or wife of the other flowers. So what to say? Each will say something different. Hence, the blank. yournimagination fills it. It is free; it varies for each flower.
I hope this will help 2007 Form 5
SPM Lit. tudents who are confused about this poem.
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