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English lit > poetry > Flashcards

poetry Flashcards

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Proverbs and Idioms flashcards
1
Q

context of as imperceptibly as grief.

A

she was removed from the public sphere and isolated. she wrote lots of poems, mainly about death and nature.

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2
Q

structure of as imperceptibly as grief.

A

single stanza adds to the sense of gradual change. there are no stanza breaks to split ideas up.

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3
Q

language of as imperceptibly as grief.

A

time - changing of seasons is associated with different stages of grief.

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4
Q

“summer lapsed away”.

A

-as imperceptibly as grief.

time is passing and speaker thinks death is approaching.

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5
Q

“perfidy-“.

A

-as imperceptibly as grief.

she doesn’t trust time and how feels tricked by how quickly time and happiness is taken away.

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6
Q

“twilight long begun.”

A

-as imperceptibly as grief.

melancholic tone of darkness taking over happiness.

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7
Q

“morning foreign shone”.

A

-as imperceptibly as grief.

morning is foreign because it offers light and hope. she doesn’t recognise it.

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8
Q

“into the beautiful.”

A

-as imperceptibly as grief.

she is now ready to move onto heaven. summer and grief has faded away.

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9
Q

context of living space.

A

born in Pakistan but raised in Glasgow. written in 1997 about housing in Mumbai.

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10
Q

structure of living space.

A

irregular form - different sized stanzas and lengths. mirrors chaos and irregularity of slums.

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11
Q

language of living space.

A

2 parts, starts with description then turns to optimism and hope.
some rhyme - “space” and “place.” - they hold parts of poem together like buildings.

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12
Q

“nothing.”

A

-living space.

nothing is emphasised at the start of the line - brings severity of the problem to the readers attention.

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13
Q

“beams balance.”

A

-living space.
alliteration, keeps the line together and enjambment pull it apart.
alliteration also gives the poem stability whereas enjambment creates instability.

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14
Q

“miraculous.”

A

-living space.

“miraculous” is unexpected at the end of the 1st stanza. in spite of all the disorder, there is still hope.

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15
Q

“eggs”.

A

-living space.

symbolism - eggs represent hope and new life. however its easily broken.

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16
Q

“the bright thin walls of faith.”

A

-living space.
tension between “bright” and “hope”. theres hope but also fragility.
stanza 1 and 3 end with references to faith - keeps them going in hard times.

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17
Q

context of the soldier.

A

about war and how good and right it is to die for your country.
written in 1914, the year ww1 broke out.

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18
Q

language of the soldier.

A

patriotism - his passion for England is clear. he is proud to be English.

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19
Q

structure of the soldier.

A

a sonnet which shows his devotional love for country - England patriotism.

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20
Q

“England heaven.”

A

-the soldier.
the heaven will be English because the soldier thinks of England as a heaven.
he can die in knowledge of a life well spent and sacrificed.

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21
Q

“a pulse in the eternal mind.”

A

-the soldier.

suggests that in death he almost becomes part of the universe, achieves some form of immortality.

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22
Q

“all evil shed away.”

A

-the soldier.

death is purifying and brings the soldier closer to God.

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23
Q

“England bore, shaped, made aware.”

A

-the soldier.

poem uses an extended metaphor of England as a mother.

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24
Q

“that is for ever England.”

A

-the soldier.

1st mention of country and pride in fighting for her. he represents her even in death.

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25
Q

context of London.

A

its about society at the time - 1794.

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26
Q

structure of London.

A

dramatic monologue.
ABAB rhyme scheme.
regular rhythm.
negative tone.

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27
Q

language of London.

A

emotive language and repetition shows Blakes anger at the situation.
“palace walls” suggests he is angry at the people in power.

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28
Q

“marks of weakness, marks of woe.”

A

-London.

repetition - shows how society felt at the time. people are upset and can see misery of their faces.

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29
Q

“infants cry of fear.”

A

-London.
emotive language - children have problems too.
speaker hears distressing noises and makes the experience seem vivid and hellish.

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30
Q

“runs in blood down palace walls.”

A

-London.
metaphor - violent and negative image to emphasise his opinion of monarchy and society.
ordinary people suffer and those in the palace are protected behind walls.

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31
Q

“blasts the new born infants tear.”

A

-London.

the innocence of newborn babies is lost immediately. society damages its members.

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32
Q

“marriage hearse.”

A

-London.

oxymoron - links happy image of marriage with death. suggests that everything has been destroyed.

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33
Q

context of afternoons.

A

important writer in post-war England and a national favourite poet. but died in 1985.
set in 70s - traditional gender roles are emphasised.

34
Q

structure of afternoons.

A

there are 3, 8 line regular stanzas. reflects the strutted idea of society and stereotypes.

35
Q

language of afternoons.

A

speaker uses specific objects such as wedding albums to make sweeping statements about working - class women and their lives.

36
Q

“young mothers.”

A

-afternoons.
mothers are anonymous, routine, trapped in daily lives , typical domesticated life.
“mothers” implies they’re restricted by gender stereotypes.

37
Q

“setting free their children.”

A

-afternoons.
freedom of the playground represents freedom they will seek from parents. yet they’re only allowed to the sandpit. this links back to the parents - are you ever actually free?

38
Q

“skilled trades.”

A

-afternoons.

men have more freedom, for example they go to work. comment on traditional roles of men and women.

39
Q

“beauty has thickened.”

A

-afternoons.
has having children aged or maybe a moment on children themselves?
the only standalone sentence in the poem - emphasises how the change in tense connects their past and present.

40
Q

“something.”

A

-afternoons.

something (children?) is pushing adults to the side of their own lives and they’re powerless to this force.

41
Q

context of ozymandias.

A

romantic poet. believed in emotion rather than reason. particularly focused on the power of nature.

42
Q

structure of ozymandias.

A

sonnet, shows the love ozymandias had for himself.

AB rhyme scheme.

43
Q

language of ozymandias.

A

language of power - power of ozymandias, however, this power has been lost. nature has ruined statue showing nature and time have more power than anything else.

44
Q

“I met a traveller from an antique land.”

A

-ozymandias.
poem is like a story. which shows that narrator hasn’t even seen the statue only heard about it. this emphasises how unimportant ozymandias is now.

45
Q

“the hand that mocked them.”

A

-ozymandias.

perhaps the sculptor intended his statue to make fun of ozymandias.

46
Q

“king of kings.”

A

-ozymandias.

arrogant and powerful - he even challenged other rulers.

47
Q

“despair!”

A

-ozymandias.
irony - tells others to “despair” because of the size and grandeur of his “works” but in fact they should despair because their power is temporary and ultimately unimportant, like his.

48
Q

“the decay of that colossal wreck.”

A

-ozymandias.

the ruined statue shows how human achievements are insignificant compared to the passing of time.

49
Q

“then, and only then, did I come close.”

A

-the manhunt.

wife releases that husbands psychological scares are worse than his physical ones.

50
Q

“foetus.”

A

-the manhunt.

metaphor that compares bullet to a “foetus.” shows his experiences are now a part of him.

51
Q

“grazed heart.”

A

-the manhunt.

double meaning - bullet only grazed his heart but it left emotional grazes behind.

52
Q

“porcelain.”

A

-the manhunt.
image of damaged body shows how fragile he is.
porcelain is delicate just like the soldier is.

53
Q

“blown hinge of his lower jaw.”

A

-the manhunt.
he can’t open his mouth, suggests he can’t talk to his wife.
image of physical brokenness suggests he finds it hard to talk about his experience.

54
Q

language of the manhunt.

A

body is presented using adjectives that describe damage. they’re paired with metaphors suggests his body is a collection of broken objects.
range of verbs like “trace” and “attend” show the women is caring.

55
Q

structure of the manhunt.

A

different injuries are introduced in different couplets.
written in couplets and is about a couple.
mostly unrhymed.

56
Q

context of the manhunt.

A

isn’t set in a particular time but affects of war on soldiers bodies and mind are talked about a lot.
about soldier Eddie beddoes, who was injured in the army and has PTSD as a result.
through wife POV.

57
Q

context of naturalist.

A

modern poem written by a northern Irish poet called Seamus Heaney and published in 1966.

58
Q

structure of naturalist.

A

1st person narrative with blank verse, conversational style. no rhyme scheme.
2 stanzas with different attitudes towards nature. starts happy then gets serious and a troubled relationship.

59
Q

language of naturalist.

A

military language is used lots in 2nd stanza which creates a threatening atmosphere.

60
Q

“gargled delicately.”

A

-death of a naturalist.

oxymoron, children enjoyment of something disgusting.

61
Q

“and.”

A

-death of a naturalist.

repetition of simple conjunction - reflect speakers youth.

62
Q

“invaded.”

A

-death of a naturalist.
military language - makes the frogs seem threatening.

narrators innocence has been lost, they now see nature as something dark and maybe harmful .

63
Q

“like mud grenades.”

A

-death of a naturalist.

simile with military language - about to explode, shows how terrifying the narrator finds them.

64
Q

“the great slime kings.”

A

-death of a naturalist.

metaphor with personification - frogs have authority over narrator.

65
Q

context of the prelude.

A

romantic poet, which explores the relationship between humans and nature.
published after he died in 1850.
written about an adult looking back at his childhood.

66
Q

structure of prelude.

A

no rhyme scheme.
enjambment to make it sound like normal speech.
2 sections - 1st about fun and tone is light and carefree. 2nd is serious as it talks about nature.

67
Q

language of the prelude.

A

short verbs like “flew” to increase poems pace. reflects speed of movement and their youthful energy.
sibilance and onomatopoeia to help reader imagine the sounds in poem.

68
Q

“like an untir’d horse.”

A

-the prelude.

simile - narrator’s strength and youthful energy.

69
Q

“the pack loud bellowing.”

A

-the prelude.
metaphor - children game compared to hunting - they’re wild and energetic.
sounds of humans are loud.

70
Q

“alien sound.”

A

-the prelude.
alien - contrasts with children noise, its unknown to them and not normal. maybe adulthood? emphasises how the sound of nature contrasts with the familiar noise of happy children.

71
Q

“not unnoticed.”

A

-the prelude.

double negative - we notice sounds of nature but don’t understand them.

72
Q

“died away.”

A

-the prelude.

poem moves onto night, could suggest moving onto adulthood.

73
Q

context of hawk roosting.

A

born in West Yorkshire.
british poet laureate from 1984 till his death in 1998.
poem could be about an allegory for human nature or intended narrative of nature itself.

74
Q

structure of hawk roosting.

A

in the form of a dramatic monologue from the point of view. addressing a silent audience.
1st person narrative - hawks.

75
Q

language of hawk roosting.

A

violent language - poem contains powerful images of violent and death.
language of power - 1st person pronouns appear in each stanza, showing hawk’s dominance and control.

76
Q

“top of the wood.”

A

-hawk roosting.

the hawk is physically up high. symbolises the powerful position over rest of nature.

77
Q

“perfect kills.”

A
  • hawk roosting.

oxymoron. hawks violence is emphasised as it thinks of killing even when asleep.

78
Q

“allotment of death.”

A

-hawk roosting.

ironic contrast between life and death - shows hawk’s constant pursuit of killing things.

79
Q

“no arguments assert my right.”

A

-hawk roosting.

frequent use of negative statements suggests hawk is rejecting rules of society.

80
Q

“the sun is behind me.”

A

-hawk roosting.

double meaning - the hawk thinks the sun works with it, reinforcing its self - importance.

English lit (4 decks)

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