2024 poetry Flashcards

You may prefer our related Brainscape-certified flashcards:
1
Q

Emigree : “There once was a ___________ … I left …”

A

“There once was a country … I left as a child”

ellipses = past tense, unreliability ?, fairy tail like,
unreliability ?
or to reminisce
ambiguity of country = apply universally for all
refugees

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2
Q

Emigree : “The worst news i receive of it cannot break …”

A

“The worst news i receive of it cannot break my original view, the bright filled paper weight”

metaphor = not allow memories to be tarnished oxymoron between lightness of ‘paper’ and the heaviness and depth of her memories.
semantic field of sun ‘bright’ = blinded by sun, or
power of places

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3
Q

Emigree : “Time rolls its tanks and frontiers rise …”

A

“Time rolls its tanks and frontiers rise between us, close like waves.”

personification time = time has conquered the
reality of this memory
or to symbolise the powerful
regime
‘frontiers’ = barriers between experience of refugee
+ english readers
schism further extended by simile = representative
of english
channel that
denies a new
life for many.
Or england drowning identity

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4
Q

Emigree : “I comb its hair and…”

A

“I comb its hair and love its shining eyes”

personification = deliberate idealism
‘shining’ = with joy or with tears, duality of pain with
memories

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5
Q

Emigree : “They accuse me of absence. They circle me. They …”

A

“They accuse me of absence. They circle me. They accuse me of being dark in their free city.

repetition plural pronoun = outnumbered/ outsider
or menacing and
threatening
power of three = extent of persecution
personification = likens them to predators
‘dark’ = contrasts with white, racism ? + evil

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6
Q

Remains : “Three of a kind, all letting fly and I swear/
next stanza : change to italics “I see …”

A

“Three of a kind, all letting fly and I swear/
next stanza : change to italics “I see every round as it rips through his life - I see broad daylight on the other side”

change in tone from accusatory to guilty
hyperbolic metaphor ‘rips’ = harshness,
‘through’ = brutality, wider implications ? everything about life affected.
or life is fragile like paper = objectifies looter
hyperbole ‘light’ on other side = hope that he’s
hoping to feel
better,
or victim go to heaven ?
colloquial verb phrase ‘letting fly’ = fun and freedom

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7
Q

Remains : “Tosses his guts …”

A

“Tosses his guts back into his body”

possessive pronoun = admitting involvement
callous description = realises what a callous action
or he thinks it is okay. Or a
spokesperson for others who
feel guilt for unjustifiable
actions
verb ‘tosses’ = objectification
colloquial lang = everyday event

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8
Q

Remains : “And the drinks and the drugs won’t flush him out”

A

“And the drinks and the drugs won’t flush him out”

equating actions to excrement
metaphor ‘flush’ = shows whish to be cleansed of
guilt, but ‘flush’ a continuous
cycle of everyday life that will
keep repeating.
sibilance = unsettling tone, sinister actions ?, sound
of fear ?
alliteration ‘d’ = remorse and regret

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9
Q

Remains : “But near to the knuckle, here and now, …”

A

“But near to the knuckle, here and now, his bloody life in my bloody hands”

‘bloody’ = pun, violence ?, or frustration, swearing it
has ruined his life
possessive pronoun + ‘bloody’ = symbolic of guilt
plosive alliteration = endless remorse he will feel ?
or brutality of event
parallelism = abuse of power when shot looter and
current inescapable feelings of guilt

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10
Q

Remains : “But on …”

A

“But on another occasion”

in media res = confusion soldier faces, not
emotionally ready for what will come
determiner ‘another’ = romanticizes notion of
conflict

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11
Q

Exposure : “Our brains ache, in the …”

A

“Our brains ache, in the merciless iced east winds that knive us …”

hyperbole ‘brains ache’ = physical pain +
Psychological pain , cold
weather infiltrating very
anatomy
personification = nature is intentionally threatening
inclusive pronoun = universal nature of suffering,
unity?
ellipses = elongated (slow) sense of time antithesis
of expectations on war. Anticipation?
sibilance = cold wind? treacherous nature?

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12
Q

Exposure : “Watching, we hear the …”

A

“Watching, we hear the mad gusts tugging on the wire”

semantic field sensory imagery = soldiers high alert, ‘watching’ = helpless + passive
verb ‘tugging’ = juxtaposes helplessness of soldiers
showing strength of nature
personification ‘mad’ = nature mad + unpredictable
alliteration ‘w’ = quivering cements misery, also
motif of ‘w’ for the rhetorical questions throughout, questioning purpose ? disorientation ?

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13
Q

Exposure : “We only know war lasts, rain soaks, and …”

A

“We only know war lasts, rain soaks, and clouds sag stromy”

Power of three = monotony + repetitive nature of
soldier’s experiences.
pathetic fallacy = reinforcing depression
sibilance = recreates silence, weather threatening ?
metaphor ‘sag’ = heaviness, soldiers carrying
burden

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14
Q

Exposure : “Pale flakes with fingering stealth …”

A

“Pale flakes with fingering stealth come feeling for our faces”

personification
adj ‘pale’ = imagery of death
fricative alliteration = shivering?, cruelness of
weather ?

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15
Q

Exposure : At the “burying party” “All their eyes …”

A

“All their eyes are ice”

oxymoron ‘burying party’ = sad that he didn’t die,
romanticizes notion of
death in conflict
metaphor = depicts deaths from hypothermia, or
referring to soldiers collecting dead
showing desensitisation to death, eyes
have been frozen with the experience o
of war ?

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16
Q

London : “Near where the charter’d Thames …”

A

“Near where the charter’d Thames does flow”

repetition ‘charter’d’ = fixed/ regulated, speaker
resents confinement
juxtaposition nature and confinement = even nature

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17
Q

London : “Mark in every face I meet, marks …”

A

“Mark in every face I meet, marks of weakness, marks of woe”

verb ‘mark’ = anguish is visible
hyperbole ‘every’ = magnitude of misery
‘mark’ then used as noun = metaphor for a brand,
branded with this look
to show place in society
alliteration ‘w’ = connects poverty and sadness
imagery uncontrollable sobbing
question words all begin with ‘w’,
reference to speaker’s confusion
with what has happened.

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18
Q

London : “The mind forg’d …”

A

“The mind forg’d manacles I hear”

metaphor = people have no autonomy
weakness is only in your mind, calling
for a revolution ?
alliteration ‘m’ = greed of those in power
hunger of the people ?

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19
Q

London : “Every ___________ church appalls and the
hapless soldiers sigh …”

A

“Every blackning church appalls and the hapless soldiers sigh runs in blood down palace walls”

‘blackening’ = antithesis to what church stands for,
Blake saw religion as a tool to keep
people down
or could refer to soot dominating
streets of London, as a result of IR
juxtaposition = between status and security of
palace V soldier’s lives, draws on the
link to the war at this time
‘Hapless’ = adj (unfortunate), emphasizes disparity
of wealth and power
sibilance = accepted their fate ?
‘blood …’ = symbolic metaphor, signifies sacrifice of
soldiers to protect those who live in
palaces

20
Q

London : “How the youthful Harlot’s …”

A

“How the youthful Harlot’s curse blasts the newborn infants ear”

plosive ‘b’ = warning for the future (society is
breaking down) , ‘infant’, microcosm for
future gen, born into broken world
onomatopoeia ‘blast’ = violence will create a culture
of corruption in future
‘harlot’ = slang for prostitute, corrupting

21
Q

Bayonet charge : “Bullets smacking the …”

A

“Bullets smacking the belly out of the air”

personification = bullets as violent and terrifying, even the air is being attacked, he can’t escape.
onomatopoeia = allows reader to also experience terror of war
bilabial plosive alliteration = harsh and aggressive tone, either micims sound of his heart mirroring fear or sound of explosives.

22
Q

Bayonet charge : “In what cold clockwork of the stars …”

A

“In what cold clockwork of the stars and nations was he the hand pointing that second”

war is because of hostilities between nations and countries, he is nothing more than a tool in war ; he is just a tiny part of war that helps the ‘hand’ of the clock move
comparing himself to a hand = chremamorphism = Hughes highlighting how soldiers are objectified and are treated as disposable
time as a symbol = soldiers conscious of limited time
rhetorical question = reflective tone, considers purpose in war
plosive ‘c’ = aggressive and harsh sound

or could be personification of war as a notion to show how controlling it is

23
Q

Bayonet charge : “Threw up a yellow hare …”

A

“Threw up a yellow hare that rolled like a flame”

colour imagery = happiness and hope, shows how everything is affected in war
or could be a metaphor for the soldiers that die on the battlefield, physical manifestation of soldiers feelings, is there even a hare ?
simile = how all hope has been demolished, or how quickly forgotten about it is

24
Q

Bayonet charge: “King, honour, human dignity etcetera dropped …”

A

“King, honour, human dignity, etcetera dropped like luxuries in yelling alarm”

a-syndetic listing = futility of war, abandones all previous motivations in war to fight in an instant
simile = animalistic instinct to survive
‘etcetera’ = juxtaposes the romanticised notion of war, undermines usal rhetoric of war

25
Q

Bayonet charge : “Suddenly he awoke, and …”

A

“Suddenly he awoke, and was running”

in media res = abrupt opening, feeling of danger and chaos
he’s in a liminal state = half asleep, half awake - undermines typically heroism of war
literally awakening, metaphorically awaking to futility and horror of war
exiting a dream of the idealized version of war and entering reality

26
Q

Prelude : “One summer evening …”

A

“One summer evening (led by her)”

summer = manifests a romantic tone
personification of nature = seduced by nature, strong relationship
or believes he is equal to nature
or could be an allusion to mother nature, how she is nurturing Wordsworth alluding to power
abstract noun evening = sense of foreshadowing that things will take a dark turn, symbolic of end of childhood innocence
brackets = perhaps dismissive of power, or realises nature should be more protected

27
Q

Prelude : “An act of stealth and …”

A

“An act of stealth and troubled pleasure”

‘abstract noun’ stealth = man is trespassing on the beauty of nature
oxymoron ‘troubled pleasure’ = conflicting tone of foreboding and confidence, or hints at his self indulgence to enjoy nature
juxtaposition between ‘stealth’ + ‘pleasure’ = potentially used to show how nature should be admired carefully and not disturbed

28
Q

Prelude : “The horizon’s bound, a huge peak …”

A

“The horizon’s bound, a huge peak, black and huge”

hyperbole = nature’s supremacy becomes apparent
repetition ‘huge’ = nature’s dominance or intimidation
‘black’ = dark, gothic, deathly image
simple adjectives = perhaps Wordsworth wants description to be accessible to everyone, so they can all admire nature’s power

29
Q

Prelude : “Through the silent water stole my …”

A

“Through the silent water stole my way back to the covert willow tree”

motif ‘silent water’ = He has changed, but nature not affected or despite nature’s brutality, can offer solitude in a time of hardship (complexity of nature)
sibilance = soft sound, as if he feels humbled or to give nature sinister feeling suggesting to not underestimate
cyclical structure back to willow tree = encounter has irreversibly changed his views on nature, or mirror cycle of nature with the seasons

30
Q

Prelude : The “Dim and determined sense of …”

A

“Dim and determined sense of unknown modes of being”

creates idea of metamorphosis = self reflective tone from previous tone of terror
alliteration of ‘d’ = creates rhythmic effect, almost dreamlike
juxtaposition ‘dim’ = vague, ‘determined’ = conveys sense of clarity, almost as if nature cannot be defined, again complex image of nature

31
Q

War photographer : “Spools of suffering set …”

A

“Spools of suffering set out in ordered rows”

metaphor ‘spools of suffering’ = magnitude of suffering, or how he defines the photos through pain and trauma (alive and still haunting him)
sibilance = sinister atmosphere, can’t detach himself from what he witnessed, or wants peace from the chaos of the warzone
adj. ‘ordered’ = juxtaposes with the chaos of the images, perhaps trying to gain some sort of control over his emotional state
or connotes coffins being laid out, introduces imagery of death

32
Q

War photographer : “The only light is red and softly ______/ as though this were a …”

A

“The only light is red and softly glows/ as though this were a church and he a priest preparing to intone a mass”

colour imagery = connotes death and blood, as if he has been stained with the conflict and has brought it back home
light usually gives hope but adverb ‘softly’ = little comfort he can find
religious simile = both a priest and war photographer are exposed to suffering and death, adds to the sense of purity and righteousness of the photographer
or suggesting there is mass slaughter in the war and questioning the existence of God
He gives the victims the dignity they were denied due to the brutality of war
plosive alliteration ‘p’ = trying to create an atmosphere of peace however contrasts to ‘softly’ = inside he is turmoil

33
Q

War photographer : “Belfast. ______. Phnom Penh. …”

A

“Belfast. Beirut. Phnom Penh. All flesh is grass”.

power of three = extent of unrest in the world
plosive alliteration = violence and destruction
Caesura between each city = as if photographer is trying to pay tribute to each place.
metaphor = biblical allusion = life is transitory and fleeting, perhaps reflecting how frivolously we treat human life, also dead bodies covering ground

34
Q

War photographer : “Solutions slop in …” (once he has returned home)

A

“Solutions slop in trays beneath his hands”

syntax = from beginning very messy, to ‘beneath’ emphasizing some control and indicating his involvement reinforced by pronoun ‘his’
metaphor = highlights his emotional and chaotic state

35
Q

War photographer : “To fields which don’t explode beneath the …”

A

“To fields which don’t explode beneath the feet of running children in a nightmare heat”

juxtaposition between innocence + conflict = subverts the usual image
hyperbole ‘nightmare’ = unimaginable and surreal
sensory imagery ‘heat’ = semantic field of hell, children are being punished for wars they didn’t start
biblical allusion to hell = how frivolously human life is treated in war

36
Q

Kamikaze : “Her father embarked at sunrise with a flask of water, a …”

A

“Her father embarked at sunrise with a flask of water, a samurai sword in the cockpit”

‘father’ = humanises the kamikaze soldier
sunrise = symbolic of new day, contrasts to his role as a kamikaze soldier to end his life, could also link in with the Japanese flag during WW2 which was an image of sunrise linking to patriotism
‘samurai sword’ = idea of masculinity, no fear
sibilance used = pressure on men is toxic

37
Q

Kamikaze : “Head full of …”

A

“Head full of powerful incantations”

metaphor = magical spell cast upon him, under spell of patriotism/ nationalism, he has been indoctrinated by the false propaganda
or perhaps dreams of being able to live freely
adj. = how he has no choice

38
Q

Kamikaze : how he (the pilot/ father) must have looked down at “The little fishing boats strung out like …”

A

“The little fishing boats strung out like bunting on a green blue translucent sea”

‘boats’ = symbolism of keeping afloat and staying alive, reinforced by enjambment
simile = he wants to cherish and celebrate his life, or links to the patriotic notion associated with bunting
colour imagery ‘green blue’ = idyllic and peaceful image, he craves freedom, juxtaposes to his mission
‘green’ = links to nature, doesn’t want to deny himself and others the beauty of life
adj. ‘translucent’ = inner conflict between his duty and his own life, starting to see the truth

39
Q

Kamikaze : “They treated him as if …”

A

“They treated him as if he no longer existed”

simile = ironic, as though they treat him as if he is dead
plural pronoun ‘they’ = he is shunned by everyone, exemplifies the power of the expectations that were placed on him to die for his country
or to show how he has broken off from society and his family

40
Q

Poppies : “Spams of red, disrupting a blockade of …”

A

“Spasms of paper red, disrupting a blockade of yellow bias binding around your blazer”

hyperbole ‘spasms’ = provokes an unnatural image, potentially foreshadowing a distressing death or injury
‘paper’ = implies vulnerability and weakness, however also paper is disposable, potentially conveying how soldiers are treated
colour imager = alludes to blood and death, however also represents love and affection revealing their close relationship
‘blazer’ = draws parallel to a child leaving for school, make readers question whether soldiers are ready for war
colour imagery ‘yellow’ = happiness, hope, youth. Juxtaposition between this and poppy shows how war has cut off his childhood
plosive ‘b’ = aggressive tone, or beating of the mother’s’ heart of anxiety

41
Q

Poppies : “Steeled the softening …”

A

“Steeled the softening of my face”

metaphor = attempt at trying to be emotional strong, or metal at how war forces all affected by it to become robotic
sibilance = nerves and fear

42
Q

Poopies : “All my words flattened, rolled, …”

A

“All my words flattened, rolled, turned into felt, slowly melting”

metaphorical language = melting of her heart
semantic field of material = objectifying her own feelings to almost relay her delicate emotional state

43
Q

Poppies : “I was brave, as a I walked with you, to the front door, threw …”

A

“I was brave, as a I walked with you, to the front door, threw it open, the word overflowing like a treasure chest”

adj. ‘brave’ = reveals how hard it is for family to let their loved ones go and risk their lives, extends the effect of war to a broader personnel
hyperbole ‘threw’ =literally lets him go, metaphorically door is a middle way for the safe life the boy has lived and the battlefield
simile = how overwhelmed the mother is, however could also reflect the son’s naivety to his newfound freedom and the glory he thinks he’ll have

44
Q

Poppies : “Later, a single dove flew from the pear tree, and …”

A

“Later, a single dove flew from the pear tree, and this is where it has led me”

ambiguous = whether to sympathise with other mothers who have lost their sons or if her son has died
dove = religious imagery = symbol of peace, depicts her subconscious desire to end wars which bring mother’s so much suffering
or could be representative of the
‘single’ = sense of isolation
‘led’ = control that war has over the lives of everyone

45
Q
A