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GCSE > Poetry Anthology > Flashcards

Poetry Anthology Flashcards

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1
Q

Manhunt: Character roles

A

He is silent voice and passsive, she is active (also shown by enjambment - continuously tracing him)

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2
Q

Manhunt: Title meaning

A

Personal manhunt - speaking is trying to reconnect post-trauma

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3
Q

Manhunt: Ending

A

The speaker is only just beginning to understand the real impact of war on her love, that is difficult to overcome

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4
Q

Manhunt: Structure

A
  • Couplets - Action,reaction and intimacy
  • Mix of rhymes and half-rhymes - relationship is fragmented and they’re recovering
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5
Q

Manhunt: Context

A
  • Soilder coming home from Bosnian war
  • UN Peacekeeper
  • Trauma of PTSD
  • Modern warefare
  • Impact on the wife, Laura
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6
Q

Manhunt: Repetition of ‘only then’

A

Gradual tentative process of getting used to her husband

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7
Q

Manhunt: Verbs associated with speaker

Te

A

Tender, active verbs

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8
Q

Manhunt: Imagery of ‘scan’ and ‘foetus of metal’

A

Pregnancy imagery - Permenantly changed the relationship

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9
Q

Manhunt: ‘blown hinge of his lower jaw’

A

He has no jaw - metaphor for how he can’t use his words to explain how he feels

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10
Q

Manhunt: ‘where the bullet had finally come to rest’

A

Personification of bullet shows how it’s always with him now

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11
Q

Manhunt: ‘unexploded mine buried deep in his mind’

A

Violent, military imagery - PTSD could go off at any time

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12
Q

London: Atmosphere, Semantics and tone

A

Gloomy and depressing semantic field + Speaker has melancholy tone

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13
Q

London: Repetition of ‘every’

A

Inescapeable human condition - everyone is victim in a city of woe

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14
Q

London: Rhymescheme

A
  • ABAB rhymescheme, iambic tetrameter
  • Unforgiving and relentless nature of life + routine in the capital
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15
Q

London: Structure

A
  • Quatrains - unbroken misery
  • Enjambment in S1 to show everyone is linked by misery
  • Repetition in S1+2 to show how no one is unaffected
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16
Q

London: Context

A
  • Industrial revolution - workhouses for children and capatalist use of slavery
  • French revolution
  • Hypocricy of church, prostitution
  • Early romantic
  • Radical political views
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17
Q

London: ‘Mind-forg’d manacles’

A

Image of entrapment - mentally impriosned in London

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18
Q

London: ‘every infant’s cry of fear’

A

Everyone has misery from birth

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19
Q

London: ‘Chimney-sweeper’s cry’ and ‘Harlot’s curse’

A

Poverty-striken

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20
Q

London: ‘Runs in blood down palace walls’

A

Very emotive image - class attack

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21
Q

She Walks in Beauty: Form and who written to

A

Ode to lover

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22
Q

She Walks in Beauty: Rhyme-scheme

A

ABABAB - Beauty is constant and perfect

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23
Q

She Walks in Beauty: ‘A heart whose love is innocent’

A
  • Unaffected by struggled
  • Exists in her own bubble of beauty
  • Her beauty is innocent
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24
Q

She Walks in Beauty: ‘serenely sweet’ and ‘pure’

A

Emphasis on innocence - her beauty is innocent

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25
Q

She Walks in Beauty: Semantics of light and dark

A
  • Beauty is harmony between 2 distinct elements
  • Contrast shows the woman is perfect balance of opposites
  • Emphasise innocence and radiant purtiy, which shines through
  • Antithesis
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26
Q

She Walks in Beauty: Balance of language

A

Sensual language of body is balanced against moral language of goodness

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27
Q

She Walks in Beauty: Tone

A
  • Lyrical
  • 3rd person - only talks about woman
  • Conveys speakers adoration, but possibly objectifying her as no more than a vessel of beauty
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28
Q

She Walks in Beauty: Structure

A
  • Three stanzas of equal length
  • Sense of fluidity, and reflects her effortless grace, poise and elegance
  • Iambic tetrameter
  • Speakers thoughts are convicting
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29
Q

She Walks in Beauty: Progression of focus

A
  • Begins to focus on woman’s physical/external beauty
  • Concludes by considering inner goodness which is outwardly manifested
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30
Q

She Walks in Beauty: Context

A
  • Lord Byron slept with countless men and women
  • English Romantic
  • Apreciated aesthetic beauty
  • Emotive tribute to perfection
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31
Q

She Walks in Beauty: Examples of light and dark

A
  • ‘night’ and ‘starry skies’
  • ‘best of dark and bright’
  • ‘tender light’
  • ‘One shade the more, one ray the less’
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32
Q

Living Space: First line echoing structure

A

Line breaks in unexpected, giving irregular form (‘There are just not enough straight lines’)

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33
Q

Living Space: Form

A
  • Irregular
  • Stanzas and lines of different lengths
  • Mirrors random construction and chaos of the bulding
  • Also mirrors precarious nature of life
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34
Q

Living Space: No rhyme/rhythm

A
  • Reflects disorder of living space
  • Look isjointed on page with lines sticking out, broken and short
  • Just like the building it describes
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35
Q

Living Space: First stanza structure

A

Caesuras emphasise the building is under stress, and how loosely connected different parts are

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36
Q

Living Space: Last 2 stanzas

A

One enjambed sentence - shows how such fragile structures sustain life and give hope

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37
Q

Living Space: ‘nails clutch’

A
  • Desperate verb
  • Emphasise instability of building
  • Personify it’s desperation to stay upright
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38
Q

Living Space: ‘miraculous’

A
  • Shifts the tone
  • When it becomes someones home. the tone becomes one of wonder
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39
Q

Living Space: Key symbolism of the egg

A
  • Symbolises faith and new life
  • They are miracles like the buildings
  • The contain new life like the buildings hold people, the eggs hold chiks
40
Q

Living Space: Sparseness of poem

A

Paralleled with how the living space is sparse

41
Q

Living Space: Context

A
  • Dharker born in Pakistan, raised in Glasgow
  • Her poetry often expoles life in India
  • Probably about slums in Mumbai
  • Millions of people live in slums as a community
42
Q

Living Space: ‘leans dangerously towards the miraculous’

A

People creating something out of nothing

43
Q

Living Space: ‘thin walls of faith’

A

Community built on faith

44
Q

Cozy Apologia: Name meaning

A

Poem of defense - defending the ordinary

45
Q

Cozy Apologia: Who is it written to

A

Her husband - Fred

46
Q

Cozy Apologia: Comparing Fred to ‘lamp’, and ‘rain’ in S2

A

Saying mudane is beatiful

47
Q

Cozy Apologia: ‘I could choose any hero, any cause or age’

A

Any hero reminds her of him - she is constantly reminded of him

48
Q

Cozy Apologia: ‘shooting arrows to the heart’

A

Romantic image - connotions to cupid

49
Q

Cozy Apologia: ‘sissy names’, ‘thin as licorice and as chewy

A

No ex can compare to Fred

50
Q

Cozy Apologia: ‘We’re content, but fall short of divine’ + ‘when has the ordinary ever been news?’

A
  • They’re not heavenly or a perfect couple but she’s embarisingly happy to be with him
  • As who was ever happy with the ordinary
51
Q

Cozy Apologia: ‘There you’ll be’ + ‘chain mail glinting’

A

Imagining Fred as a fictional, stereotypial hero/knight

52
Q

Cozy Apologia: S1, constant comparison of Fred to others

A

So besotted by Fred that everything reminds the speaker of him

53
Q

Cozy Apologia: Tone + Speaker

A
  • Free verse - converstaional tone
  • Number of syllables vary in each line, acting like a chain of thought
  • Thoughts running away with her (like hurricane)
  • S2 - S3
  • First person - personal feeling
54
Q

Cozy Apologia: Rhyme-scheme

A
  • S1 is regular rhyming couplets - conforms to traditional presentation of their love an intimacy
  • S2 rhyme-scheme is distrupted as she thinks of past relationships she regrets
  • ABAB rhyme-scheme returns when domestic harmony is restored
55
Q

Cozy Apologia: Structure

A
  • Present tense talking about feelings
  • When reflecting on previous relationships, there’s a contrast of past tense
  • Returns to present when thinking of Fred again
56
Q

Cozy Apologia: Context

A
  • Response to post-modern collapse of meaning
  • Written when Hurricane Floyd hit east coast of USA in 1999
  • Very domestic - writer so autobiographical
57
Q

Cozy Apologia: Significane of line 15

A
  • Storm hits
    OR
  • Thinking and reminicing on past
58
Q

Valentine: Comparison to traditional love poems

A

Rejects cliches and typical forms like sonnets

59
Q

Valentine: Form

A
  • First person
  • Stanzas of irregular length
  • Some stanzas one line
  • Doesn’t conform to traditional love forms
  • Love isn’t perfection
60
Q

Valentine: Rhyme and rhythm

A
  • Lacks rhyme and rhythm
  • Disjointed feel
  • Free verse - more genuine
61
Q

Valentine: Single word lines

A
  • Forceful and aggressive in tone
  • ‘Lethal’
62
Q

Valentine: Onion

A
  • Extended metaphor - layers of love
  • Gradually reveals deterioration of love over time
  • Hopeful to threatening as when looses layers makes you cry
63
Q

Valentine: Tone

A

Starts playful and optimistic, then forceful and optimistic and hostile at end

64
Q

Valentine: Repetition

A

Adds element of coercion

65
Q

Valentine: Direct address

A
  • ‘I give you’
  • Combined with imperative verbs like ‘Tke it’
  • Honest, personal tone
  • Also commanding and forceful
66
Q

Valentine: Negative/threatening language

A
  • ‘it will bling you’ + ‘wobbling photo of grief’
  • Unusual for a love poem
  • Hints at the dangerous and possessive side to love
67
Q

Valentine: ‘It is a moon wrapped in brown paper. It promises light’

A
  • Metaphor
  • How the mundane can be beautiful
68
Q

Valentine: ‘I am trying to be truthful’

A
  • Feels abrupt
  • Sincere and to the point
  • Gives a gift whih reflect tumultious nature of life
69
Q

Valentine: ‘possessive and faithful’

A

Summaries the tine of poem

70
Q

Valentine: platinum loops shrint to a wedding-ring’

A

Symbol of love and devotion

71
Q

Valentine: ‘Lethal, Its scent will cling to your fingers, cling to your knife’

A

image of marriage with ‘lethal’ and ‘knife’ feels contradictory

72
Q

Valentine: Context

A
  • Radical poet
  • Interested in feminism
  • Response to a challenge from radio presenter who asked her to write a original poem for Valentine’s day
  • Conceit - reminiscent of metaphysical poeets like John Donne who used object to explore ideas of love
  • At a young age she had a love affair with poet Adrian Henry, many years her senior
73
Q

Death of a Naturalist: Form

A
  • First person
  • Blank verse (no rhyme)
  • Sounds conversational and personal
74
Q

Death of a Naturalist: Structure

A
  • Iambic pentameter not always secure with often over-spilling into 11 syllables
  • Reflects richness of nature and unpredictability of change
  • Enjambment coveys speakers enthusiasm and nature’s inability to be constrained
75
Q

Death of a Naturalist: Stanzas

A
  • S1 focus on childhood wonderment and secure relationship with nature
  • Hints of negative language and ominous tone like ‘rotted’ foreshadows change at end
  • Seems to captivate, not scare the speaker
  • S2, shifts in tone for more fractured relationship with nature
  • Nature in unfamilar and threatening
76
Q

Death of a Naturalist: Quotes to show nature as threataning

A
  • ‘air was thick’ - Stifling atmosphere
  • ‘invaded’ + ‘grenades’ - military language and personification weaponises frogs
  • ‘I sickened’
77
Q

Death of a Naturalist: Synaesthesia

A
  • Combines all 5 senses at once
  • Wealth of sensory qualaties conveys richness and abundance of nature
78
Q

Death of a Naturalist: How is contrast used

A
  • Reveal the troubled relationship that develops with nature
  • Imagery of life and beauty contrasts imagery of decay, repulsion and death
  • ‘gargled delicatley’
  • ‘punishing sun’
79
Q

Death of a Naturalist: Speaker involvement

A
  • Active participant (I would fill jampots)
  • Passive and horrified observer - Conditional ‘if’
80
Q

Death of a Naturalist: Title

A

His view of nature as joyful is tarnished = death of his views

81
Q

Death of a Naturalist: ‘I would fill jampots full of the jellied specks’

A

Collecting tadpoles (childhood innocence) - positive experience with nature

82
Q

Death of a Naturalist: Context

A
  • Irish poet
  • From farming community
  • Romantic poet - from childhood innocence to adulthood experiance
  • Strong Roman Catholic upbringing - sexual maturity and church’s repulsion
  • Only sees troubles with IRA now
83
Q

Hawk Roosting: Form

A
  • Dramatic monologue from perspective of hawk
  • First person voice gives hawk authority and commands poem without debate/interuption
  • No rhyme (no lyrical quality) - cold, harsh and blunt
  • Quatrains - decisive, controlling nature of hawk
84
Q

Hawk Roosting: Structure

A
  • Begins with hawk perched high in tree, happy being top of hierarchy
  • Develops to consider it’s own perfection
  • Ends on assured statement of complete future control
85
Q

Hawk Roosting: Brutal and violent imagery

A

Dominates the poem and conveys the destructive power of hawk.

86
Q

Hawk Roosting: Pronouns

A
  • Use of ‘I’
  • Repetition of ‘my’
  • Formal and complex
  • End-stopped lines contribute to its uncompromising nature
87
Q

Hawk Roosting: ‘Nothing has changed since i began’ + ‘I am going to keep things like this’

A

Natural world and cycle of life will always be the same in past, present and future

88
Q

Hawk Roosting: Context

A
  • British poet
  • Famous for poems on animals
  • Grew up in rural Yorkshire
  • Enjoyed hunting and fishing
89
Q

Prelude: Form

A
  • First person autobiography focused on a specific memory
  • Blank verse and iambic pentameter makes it sound natural and unforced - like a personal and intimate conversation with the reader
  • Steady rhythm creates impression that memory is clear and certain
90
Q

Prelude: Structure

A
  • Enjambment creates a spontaneity to the memory and sense of joy
  • Caesuras pause to emphasise glory of moment
91
Q

Prelude: ‘evening died away’

A

Passing of time is unstoppable just like growing up

92
Q

Prelude: Volta in Line 16

A
  • Older voice reflects of childhood in serious and mature tone
  • Pessimistic diction like ‘melancholy’, ‘alien’, and ‘died’ is introduced adding a sombre tone
93
Q

Prelude: Sibilance

A
  • ‘hiss’d’, ‘polished’, ‘ice’
  • Recreate active memories of ice skating
94
Q

Prelude: Sibilance

A
  • ‘hiss’d along polish’d ice’
  • Activly reliving the memory
95
Q

Prelude: Pace

A

Active verbs such as ‘wheel’d’ and ‘flew’ creates speed and youthful energy

96
Q

Prelude: Context

A
  • Early romantic powet
  • Grew up in idyllic setting of Lake District
  • Comes from a longer autobiographical poem
  • Belives nature was the ‘Great Universal Teacher’

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