Is anyone doing Carol Ann Duffy's 'The World's Wife'?
I have some interesting notes on some of the poems if you would like me to post them please ask if not then i won't because there is quite alot.
Scroll to see replies
I am 
Please do post them. Thanks!
Please do post them. Thanks!
THETIS was a goddess of the sea and the leader of the fifty Nereides. Like many other sea gods she possessed the gift of prophesy and power to change her shape at will. Because of a prophesy that she was destined to bear a son greater than his father, Zeus had her marry a mortal man. Peleus, the chosen groom, was instructed to ambush her on the beach, and not release his grasp of the struggling goddess as she metamorphosed into a host of shapes. The couple were afterwards married in a ceremony attended by all the gods of heaven. Thetis bore one son, Achilles, whom she tried unsuccessfully to make immortal. In one version of the story, she anointed the infant's body with ambrosia and then placed it upon a fire in order to burn away the mortal parts; when she was interrupted by the child's horrified father; she deserted their household in a rage. In a later version, she dipped the child in the river Styx holding him by the heel; all the parts that the river touched became invulnerable, but the heel remained dry. Achilles was later killed in the Trojan War.
This poem uses mild references to other legends and myths such as ‘The Rime of the Ancient Mariner’;
“shouldered the cross of an albatross
Up the hill of the sky.
Why? To follow a ship.
But I felt my wings
Clipped by the squint of a crossbow’s eye.”
This may be referring to when the young mariner kills with a crossbow the albatross and is forced to wear it on his shoulders in a cross by his shipmates. Even though Thetis is actually changing into an albatross it is still similar to the ancient mariner.
Duffy also uses what may be considered as a reference to the legend of the Lorelei. The Loreley (also written as Lorelei) is a rock on the eastern bank of the Rhine near St. Goarshausen, which soars some 120 meters above the water line. It marks the narrowest part of the river between Switzerland and the North Sea. A very strong current and rocks below the waterline have caused many boat accidents there. Loreley is also the name of one of the beautiful Rhine Maidens who lured navigators of this river to their dooms with their alluring singing, much as the ancient Greek Sirens did. The rock is associated with several legendary tales originating in German folklore. It appears in many forms. The legend was first created by the German author Clemens Brentano in his novel "Godwi oder Das steinerne Bild der Mutter" (1801); Brentano was inspired by Ovid, especially by the Echo-Narcissus myth. One of the legends is that Loreley, a beautiful young maiden, committed suicide because of an unfaithful lover. She jumped from the steep rock into the Rhine River, thus killing herself. She then became a siren, luring shipmen to their fates with her hypnotizing voice. The echoing heard today is said to be Loreley.
The reference is in the fifth stanza;
“ the oceans opera singer.
Over the waves the fisherman came
With his hook and his line and his sinker.”
I think Duffy may use the refernece to the well known saying ‘hook line and sinker’ to describe the way the boatmen were drawn to the Loreley and emphasising the fact that they had no control over their actions.
This poem is about a woman growing more powerful with every stanza but thwarted by a man’s intentions until the moment she has a baby, at the end of the poem.
Each animal Thetis becomes is more powerful than the last: a small bird; an albatross; snake; lion; mermaid and other sea creatures, including a whale; and then finally to animals that are well known for their cunning ability to survive despite being hunted.
In the penultimate stanza Thetis becomes, ‘wind, I was gas, / I was all hot air,’ She has become intangible, ethereal: she cannot be grasped or held.
Duffy has followed a fairly traditional view here, in which the female is seen as nature, part of the natural order, with an innate desire to continue life through giving birth while the male is concerned with his own destructive forces in life.
Duffy also explores the feeling of women that they have to alter themselves for a man, ‘So I shopped for a suitable shape’ meanwhile also mocking that of a man’s thoughts that all women enjoy the experience of shopping.
In the beginning of the poem Thetis is subservient to the man, ‘I shrank myself’ again altering herself to find a way of pleasing the male gender and make them feel dominant. However, later on in the poem Thetis takes on the shape of much stronger and powerful creatures therefore overpowering the man.
In the last stanza it is obvious that Thetis has married as she refers to a ‘groom’ and later given birth as she refers to ‘when the child burst out’.
Sorry its so long after your posts ive been piled up with work and not been able to get online
This poem uses mild references to other legends and myths such as ‘The Rime of the Ancient Mariner’;
“shouldered the cross of an albatross
Up the hill of the sky.
Why? To follow a ship.
But I felt my wings
Clipped by the squint of a crossbow’s eye.”
This may be referring to when the young mariner kills with a crossbow the albatross and is forced to wear it on his shoulders in a cross by his shipmates. Even though Thetis is actually changing into an albatross it is still similar to the ancient mariner.
Duffy also uses what may be considered as a reference to the legend of the Lorelei. The Loreley (also written as Lorelei) is a rock on the eastern bank of the Rhine near St. Goarshausen, which soars some 120 meters above the water line. It marks the narrowest part of the river between Switzerland and the North Sea. A very strong current and rocks below the waterline have caused many boat accidents there. Loreley is also the name of one of the beautiful Rhine Maidens who lured navigators of this river to their dooms with their alluring singing, much as the ancient Greek Sirens did. The rock is associated with several legendary tales originating in German folklore. It appears in many forms. The legend was first created by the German author Clemens Brentano in his novel "Godwi oder Das steinerne Bild der Mutter" (1801); Brentano was inspired by Ovid, especially by the Echo-Narcissus myth. One of the legends is that Loreley, a beautiful young maiden, committed suicide because of an unfaithful lover. She jumped from the steep rock into the Rhine River, thus killing herself. She then became a siren, luring shipmen to their fates with her hypnotizing voice. The echoing heard today is said to be Loreley.
The reference is in the fifth stanza;
“ the oceans opera singer.
Over the waves the fisherman came
With his hook and his line and his sinker.”
I think Duffy may use the refernece to the well known saying ‘hook line and sinker’ to describe the way the boatmen were drawn to the Loreley and emphasising the fact that they had no control over their actions.
This poem is about a woman growing more powerful with every stanza but thwarted by a man’s intentions until the moment she has a baby, at the end of the poem.
Each animal Thetis becomes is more powerful than the last: a small bird; an albatross; snake; lion; mermaid and other sea creatures, including a whale; and then finally to animals that are well known for their cunning ability to survive despite being hunted.
In the penultimate stanza Thetis becomes, ‘wind, I was gas, / I was all hot air,’ She has become intangible, ethereal: she cannot be grasped or held.
Duffy has followed a fairly traditional view here, in which the female is seen as nature, part of the natural order, with an innate desire to continue life through giving birth while the male is concerned with his own destructive forces in life.
Duffy also explores the feeling of women that they have to alter themselves for a man, ‘So I shopped for a suitable shape’ meanwhile also mocking that of a man’s thoughts that all women enjoy the experience of shopping.
In the beginning of the poem Thetis is subservient to the man, ‘I shrank myself’ again altering herself to find a way of pleasing the male gender and make them feel dominant. However, later on in the poem Thetis takes on the shape of much stronger and powerful creatures therefore overpowering the man.
In the last stanza it is obvious that Thetis has married as she refers to a ‘groom’ and later given birth as she refers to ‘when the child burst out’.
Sorry its so long after your posts ive been piled up with work and not been able to get online
Thanks they were great.
If you have notes on any of the others it would be a great help!
If you have notes on any of the others it would be a great help!
The Kray sisters
This is a poem about love, relationships and children. It is about maternal love, marital love and even lesbian love.
Herod was the King who, according to the Bible (Matthew, chapter 2), was so concerned at the news the three wise men brought him about the birth of Jesus Christ, that he demanded the execution of every male child under two years of age. In the Bible, when the three wise men visit Herod and tell him the news about the birth, the only hint we have about Herod’s disquiet is the statement that Herod was ‘troubled’ by the news.
Although the poem uses the wife of Herod as narrator and appears to have references to Jesus being a ‘hunk’ and a ‘paramour’, it is not blasphemous of Duffy. Unlike many of the other poems in this collection, the villain that is portrayed by Duffy is actually female. The female in this poem is also unusual because she is also a Queen making her more influential, in many people’s views, than a woman who is not royal or elevated in status in any way.
I think that Duffy may have wanted this poem to be similar to the Bible not in just the same stories but also the structure of it. Duffy has woven many stories into this one poem in a similar way to the Bible. They are also similar in that they can be interpreted in many different ways.
Herod is described as ‘drunken’ and ‘fusty bulk’. The reader should also look at the way Queen Herod describes her own marriage: she is ‘splayed’ beneath Herod – it doesn’t sound like she is enjoying sex or even has a choice in it – and the possible marriage of her daughter: ‘some wincing Prince to take her name away / and give a ring, a nothing, nowt in gold.’
It may seem that the three Queens who arrive are hinting at lesbian love. The voice in the poem does tell us that one of them looks at her ‘Queen to Queen, with insolent lust’. It might just be female friendship that Duffy is referring to, which can be incredibly close, particularly just after women have had children. However the fact that Queen Herod may have lesbian feelings would be perfectly equitable as it seems she is not happy with her husband and maybe the male gender in general.
This is a poem about love, relationships and children. It is about maternal love, marital love and even lesbian love.
Herod was the King who, according to the Bible (Matthew, chapter 2), was so concerned at the news the three wise men brought him about the birth of Jesus Christ, that he demanded the execution of every male child under two years of age. In the Bible, when the three wise men visit Herod and tell him the news about the birth, the only hint we have about Herod’s disquiet is the statement that Herod was ‘troubled’ by the news.
Although the poem uses the wife of Herod as narrator and appears to have references to Jesus being a ‘hunk’ and a ‘paramour’, it is not blasphemous of Duffy. Unlike many of the other poems in this collection, the villain that is portrayed by Duffy is actually female. The female in this poem is also unusual because she is also a Queen making her more influential, in many people’s views, than a woman who is not royal or elevated in status in any way.
I think that Duffy may have wanted this poem to be similar to the Bible not in just the same stories but also the structure of it. Duffy has woven many stories into this one poem in a similar way to the Bible. They are also similar in that they can be interpreted in many different ways.
Herod is described as ‘drunken’ and ‘fusty bulk’. The reader should also look at the way Queen Herod describes her own marriage: she is ‘splayed’ beneath Herod – it doesn’t sound like she is enjoying sex or even has a choice in it – and the possible marriage of her daughter: ‘some wincing Prince to take her name away / and give a ring, a nothing, nowt in gold.’
It may seem that the three Queens who arrive are hinting at lesbian love. The voice in the poem does tell us that one of them looks at her ‘Queen to Queen, with insolent lust’. It might just be female friendship that Duffy is referring to, which can be incredibly close, particularly just after women have had children. However the fact that Queen Herod may have lesbian feelings would be perfectly equitable as it seems she is not happy with her husband and maybe the male gender in general.
sorry thats queen herod not the kray sisters. It was because I was reading the Kray sisters at the time lol. oops 
Thank you so much! It's a blessing I stumbled across this board looking for help on 'Spies'. I really love Duffy's poetry, so far Mrs. Faust has been my favourite with Little Red Cap really inverting a fairytale.
did you know that little red cap is actually poem written about duffy's own experience of when she was taken in by another poet but was betrayed.
and we've just finished spies as a unit i really enjoyed the book
and we've just finished spies as a unit i really enjoyed the book
Ah yes I remember my English teacher telling me about her first love and how he was thirty-nine, Adrian Henri I believe?
The good thing about Duffy is that you can quickly become aware of the devices she uses throughout her poetry and the humour installed, I find alliteration and rules of three are in abundance. Like 'Terracotta tuscan tiles' in Mrs. Faust, I find it humorous that she cares more about the kitchen floor being torn apart instead of her husband being dragged down to hell, indicating she is still materialistic. The alliteration really made it recognisable for me.
Although I didn't enjoy 'Spies' as much as you, I find Frayn's style very intriguing and it encouraged me to really explore his structure.
The good thing about Duffy is that you can quickly become aware of the devices she uses throughout her poetry and the humour installed, I find alliteration and rules of three are in abundance. Like 'Terracotta tuscan tiles' in Mrs. Faust, I find it humorous that she cares more about the kitchen floor being torn apart instead of her husband being dragged down to hell, indicating she is still materialistic. The alliteration really made it recognisable for me.
Although I didn't enjoy 'Spies' as much as you, I find Frayn's style very intriguing and it encouraged me to really explore his structure.
Yes the notes are really helpful, Anything on Mrs Sisyphus would be great too. anything on any of them is fab though.
The Kray Sisters
This is the only poem in the collection ‘The World’s Wife’ that is not a monologue. It is also one of three poems that are based on real characters from the 20th century
The real Kray twins were brothers (Ronnie and Reggie): famous villains around the East End of London in the 1950s and 60s. They ran protection rackets and had money in various clubs. They were eventually imprisoned for the murder of Jack the Hat in 1969 after evading police for years, and it was recommended that they serve a minimum of 30 years in prison. Ronnie died in prison in 1996 and Reggie died a few weeks after his release in 2000. Ronnie was also homosexual in a period in history where it was illegal.
Frog and toad – Road
Thr’penny bit – Breasts
Mince pies – Eyes
God forbids – Kids
Orchestra stalls – balls
Butchers / butchers hook – Look
Whistle and flutes - suits
This poem is supposed to funny and relies on it being read aloud in the cockney accent. The characters in the poem are very boastful and the twins exude an air of confidence, which comes from their bullying and violent behaviour.
The first line suggests that there is a cheerful air to this poem but the geezers are actually more likely to be scared of the Krays but the line can be interpreted in both ways.
The repetition of ‘London’ is patriotic of the town that they live in and refer to songs that were popular songs associated with the WWII and its aftermath that hint the feeling of unity and community spirit.
There are a lot of internal rhymes in the poem, very much mimicking the rhythm, lilt and cadence of the East London dialect.
The reference to the grandmother shows that the family is strong and united. It shows that the twins have a lot of respect when it comes to family which is ironic as the twins are extremely violent and bullying to others.
The twins are very masculine in their language and style and perhaps this shows that although they are female they are actually not that different from men and therefore shortening the gap and conflict between the sexes. This is unusual as other poems in this collection are emphasising the distance between male and female.
It is ironic that the twins behave in quite a chauvinistic way and criticise some women for being, ‘some plonker’s wife’ as they are perceived as being protective of women, ‘no questions asked, for Protection.’ This could mean contraceptive protection as there are quite a few other sexual references or it could just mean protection from men in general.
These are very powerful women and yet they belittle other females and are condescending to them, referring to them as ‘girls’ and lecturing them, ‘A boyfriend’s for Christmas, not just for life.’ The line also patronises men: Duffy takes the phrase, ‘A dog is for life, not just for Christmas’ and puts the male in the place of the soppy-eyed puppy dog.
There is use of alliteration to show the twins’ success: ‘the fruits / of feminism – fact – made us rich, feared, famous, / friends of the stars.’ The lines mirror a public speech, such as an acceptance speech at an awards ceremony, in that it builds to a climax, each word or phrase that follows the last reveals increasing power: note that ‘feminism’ is one of the first and therefore one of the least important to the twins.
The extract from the latter that appears is supposed to reflect popular feeling and certainly the real Kray twins are often remembered in this way, with memory that London had been safer ‘in the old days’. The statements are still said a lot today: just look at some of the election slogans and declarations that have been used and the way in which politicians keep telling us they will return Britain to the state it used to be in. What Duffy is doing here is reminding us that ‘the old days’ were not better and were often much worse: her references to the twins in the photographs reflect the facts that before the mass audience for television, people were sometimes unaware of current affairs and events beyond their own streets or towns so it was not that there was less crime, it was just that not so many people knew about it.
In the last stanza the poem has built to an almost frenzied crescendo of power, which mirrors the behaviour of the real twins, in that they felt themselves almost invincible. The phrase ‘dressed to kill’ has an ominous double meaning in that the twins are literally well dressed and yet they really are dressed to kill anyone who offends them.
The extract from the song at the end of the poem is indeed by Sinatra, but it is Frank Sinatra’s daughter, Nancy. The song itself hints at a power within women that might remain dormant for many years, but once roused can not be ignored. The full song lyrics become darker as the song progresses, which is possibly why Duffy has left the ellipsis at the end of the poem, hinting at the sinister events which were to end the Kray twins’ rule over East London.
Reading the poem we know that it is just one of the twins narrating at one time, however we do not know which one it is therefore emphasising their togetherness and close bond almost as if they were one person. This is accentuated when they say ‘No one could tell us apart,’ and also, ‘two of our four mince pies.’
In the first stanza they talk about tailored clothes to flatter their breasts showing that they have grown up and flourished. However in the second stanza they have a flashback to their childhood. This sense of backwardness emphasises that they are not good people and that they violent and bullying.
They talk about big ‘East End Hearts’ which is ironic because of their violent nature it would seem that they did not have big hearts for anything.
‘London Town, made for a girl and her double to swagger around;’ It’s as if nobody else matters and that they think so high of themselves that the town is theirs. This is emphasised when they mention their car, an ‘Austin Princess’. The car is also black, which is quite a sinister colour which suits the twins.
In the second stanza they use the rhyming slang for kids ‘God forbids’ it is almost like they don’t want to think of themselves of ever being kids and that they have always been intelligent and better than everyone else.
‘God Rest Her Soul’ perhaps they use capitals to stress the respect that they have within their family. Their grandmother was a suffragette which ties in with their feminist views.
This is the only poem in the collection ‘The World’s Wife’ that is not a monologue. It is also one of three poems that are based on real characters from the 20th century
The real Kray twins were brothers (Ronnie and Reggie): famous villains around the East End of London in the 1950s and 60s. They ran protection rackets and had money in various clubs. They were eventually imprisoned for the murder of Jack the Hat in 1969 after evading police for years, and it was recommended that they serve a minimum of 30 years in prison. Ronnie died in prison in 1996 and Reggie died a few weeks after his release in 2000. Ronnie was also homosexual in a period in history where it was illegal.
Frog and toad – Road
Thr’penny bit – Breasts
Mince pies – Eyes
God forbids – Kids
Orchestra stalls – balls
Butchers / butchers hook – Look
Whistle and flutes - suits
This poem is supposed to funny and relies on it being read aloud in the cockney accent. The characters in the poem are very boastful and the twins exude an air of confidence, which comes from their bullying and violent behaviour.
The first line suggests that there is a cheerful air to this poem but the geezers are actually more likely to be scared of the Krays but the line can be interpreted in both ways.
The repetition of ‘London’ is patriotic of the town that they live in and refer to songs that were popular songs associated with the WWII and its aftermath that hint the feeling of unity and community spirit.
There are a lot of internal rhymes in the poem, very much mimicking the rhythm, lilt and cadence of the East London dialect.
The reference to the grandmother shows that the family is strong and united. It shows that the twins have a lot of respect when it comes to family which is ironic as the twins are extremely violent and bullying to others.
The twins are very masculine in their language and style and perhaps this shows that although they are female they are actually not that different from men and therefore shortening the gap and conflict between the sexes. This is unusual as other poems in this collection are emphasising the distance between male and female.
It is ironic that the twins behave in quite a chauvinistic way and criticise some women for being, ‘some plonker’s wife’ as they are perceived as being protective of women, ‘no questions asked, for Protection.’ This could mean contraceptive protection as there are quite a few other sexual references or it could just mean protection from men in general.
These are very powerful women and yet they belittle other females and are condescending to them, referring to them as ‘girls’ and lecturing them, ‘A boyfriend’s for Christmas, not just for life.’ The line also patronises men: Duffy takes the phrase, ‘A dog is for life, not just for Christmas’ and puts the male in the place of the soppy-eyed puppy dog.
There is use of alliteration to show the twins’ success: ‘the fruits / of feminism – fact – made us rich, feared, famous, / friends of the stars.’ The lines mirror a public speech, such as an acceptance speech at an awards ceremony, in that it builds to a climax, each word or phrase that follows the last reveals increasing power: note that ‘feminism’ is one of the first and therefore one of the least important to the twins.
The extract from the latter that appears is supposed to reflect popular feeling and certainly the real Kray twins are often remembered in this way, with memory that London had been safer ‘in the old days’. The statements are still said a lot today: just look at some of the election slogans and declarations that have been used and the way in which politicians keep telling us they will return Britain to the state it used to be in. What Duffy is doing here is reminding us that ‘the old days’ were not better and were often much worse: her references to the twins in the photographs reflect the facts that before the mass audience for television, people were sometimes unaware of current affairs and events beyond their own streets or towns so it was not that there was less crime, it was just that not so many people knew about it.
In the last stanza the poem has built to an almost frenzied crescendo of power, which mirrors the behaviour of the real twins, in that they felt themselves almost invincible. The phrase ‘dressed to kill’ has an ominous double meaning in that the twins are literally well dressed and yet they really are dressed to kill anyone who offends them.
The extract from the song at the end of the poem is indeed by Sinatra, but it is Frank Sinatra’s daughter, Nancy. The song itself hints at a power within women that might remain dormant for many years, but once roused can not be ignored. The full song lyrics become darker as the song progresses, which is possibly why Duffy has left the ellipsis at the end of the poem, hinting at the sinister events which were to end the Kray twins’ rule over East London.
Reading the poem we know that it is just one of the twins narrating at one time, however we do not know which one it is therefore emphasising their togetherness and close bond almost as if they were one person. This is accentuated when they say ‘No one could tell us apart,’ and also, ‘two of our four mince pies.’
In the first stanza they talk about tailored clothes to flatter their breasts showing that they have grown up and flourished. However in the second stanza they have a flashback to their childhood. This sense of backwardness emphasises that they are not good people and that they violent and bullying.
They talk about big ‘East End Hearts’ which is ironic because of their violent nature it would seem that they did not have big hearts for anything.
‘London Town, made for a girl and her double to swagger around;’ It’s as if nobody else matters and that they think so high of themselves that the town is theirs. This is emphasised when they mention their car, an ‘Austin Princess’. The car is also black, which is quite a sinister colour which suits the twins.
In the second stanza they use the rhyming slang for kids ‘God forbids’ it is almost like they don’t want to think of themselves of ever being kids and that they have always been intelligent and better than everyone else.
‘God Rest Her Soul’ perhaps they use capitals to stress the respect that they have within their family. Their grandmother was a suffragette which ties in with their feminist views.
Wow you've done it again Samdreamer, excellent notes, thank you very much, it always goes appreciated.
thats ok as soon as i write out some more i will post them
Hey everyone, just to say I was asked to make a presentation in class on Queen Herod, it's a powerpoint; EDIT: Ah no emails on the forums ooops Anyways I'm just going to write the notes up and post them here, seems easier for all.
I'd like to share it with everyone as I've found so much helpful info. on here
Anyways I'm just going to write the notes up and post them here, seems easier for all.I'd like to share it with everyone as I've found so much helpful info. on here
Hi SamDreamer I know this is offically your topic but do you reckon we should also turn this into a revision thread for students who wish to discuss all of the poems? I am doing the same for 'Spies' and I've already got rather a lot of insight into that book. Let me know via PM or on this thread, thank you.
Anyways, today we compared one language device in Little Red-Cap and another poem of our choice, I will now put my response up here as the information I have received as benefited greatly on all of my courses. My teacher thought my Point-Quote-Analysis was lovely and well structured. (Looking back on that makes me look really arrogant, far from the truth, just a compliment from her!)
Throughout 'Little Red-Cap', Duffy uses in abundance the language devices of the rule of three, common cliches and adjectives to illustrate animal imagery; "I slid from between his heavy matted paws." This accentuates to the reader that Duffy portrays the male to be domineering, possessive and the use of the adjective 'heavy' illustrates he loves to have authority over his women. The use of the first person narrative also encourages the reader to feel sympathy for the persona as she is stuck beneath him, much like how Queen Herod is 'splayed' beneath Herod, indicating the women have no control in sex and get no pleasure.
Similarly, in 'Pilate's Wife' there are frequent devices of adjectives to describe Pontius as flippant and camp; "pale, mothy touch made me flinch." Duffy makes the reader envisage how delicate she portrays Pontius and the comparison to a moth illustrates he flits around everything but never stays still reflecting his indecision; moths typically do the same.
Consequently, there is a stark contrast netween the two males and how they are portrayed as animals. Being compared to a wolf essentially 'masculinzes' a man as they are creatures which are deemed powerful and domineering. Whilst being compared to a moth indicates Pontius is portrayed to be effeminate and indecisive.
I really hope this helps everyone out, willing to do more so please, please PM me, not only does it help you, but helps me trigger off where I learnt it.
Jamsie.
Anyways, today we compared one language device in Little Red-Cap and another poem of our choice, I will now put my response up here as the information I have received as benefited greatly on all of my courses. My teacher thought my Point-Quote-Analysis was lovely and well structured. (Looking back on that makes me look really arrogant, far from the truth, just a compliment from her!)
Throughout 'Little Red-Cap', Duffy uses in abundance the language devices of the rule of three, common cliches and adjectives to illustrate animal imagery; "I slid from between his heavy matted paws." This accentuates to the reader that Duffy portrays the male to be domineering, possessive and the use of the adjective 'heavy' illustrates he loves to have authority over his women. The use of the first person narrative also encourages the reader to feel sympathy for the persona as she is stuck beneath him, much like how Queen Herod is 'splayed' beneath Herod, indicating the women have no control in sex and get no pleasure.
Similarly, in 'Pilate's Wife' there are frequent devices of adjectives to describe Pontius as flippant and camp; "pale, mothy touch made me flinch." Duffy makes the reader envisage how delicate she portrays Pontius and the comparison to a moth illustrates he flits around everything but never stays still reflecting his indecision; moths typically do the same.
Consequently, there is a stark contrast netween the two males and how they are portrayed as animals. Being compared to a wolf essentially 'masculinzes' a man as they are creatures which are deemed powerful and domineering. Whilst being compared to a moth indicates Pontius is portrayed to be effeminate and indecisive.
I really hope this helps everyone out, willing to do more so please, please PM me, not only does it help you, but helps me trigger off where I learnt it.
Jamsie.
yes a revison thread would be good its just i am quite new to TSR so i don't know my way around it at the moment. Thanks for the extra information on the poems and i hope to make some more notes onthe poems in the next few days and so i will post them here.
Searching back into my AS memory, one thing that kinda confused me in the Kray Sisters was trying to figure out the significance of the "juniper fumes". For anyone else who's confused, juniper's what they make gin out of. So it's not really very important.
My take on Queen Herod;
Introduction;
Herod, also known as Herod the Great, was a Roman king of Judea. In Christian scripture, Herod is known for the ‘Massacre of the Innocents’, the execution of all young male children in the village of Bethlehem, so as to avoid the loss of his throne to a newborn "King of the Jews“, whose birth had been announced to him by the Three Kings.
In ‘Queen Herod’, Duffy gives a voice to someone who is not included in the Bible – she allows the feminine perspective to be heard and continues to demonstrate a backlash at the dominance of men in literature.
‘Queen Herod’ is a dramatic monologue in free verse.
Quotes and notes;
“Three Queens at the Palace gates,
Dressed in furs, accented;” - Allusion to ‘Three Kings’ (patriarchal Magi)
“Once drunken Herod’s head went back…” - The male figure is quickly ushered out of the poem when asleep – concentration on the females
“…glowed in the soft bowl of her face.” - Reference to the Nativity scene
“Grace… Strength… Happiness…” - The gifts given by the Queens are emotive as opposed to the materialistic ones given to Jesus by the Kings – Duffy could be suggesting that men are materialistic (give/given gold, frankincense and myrrh) and desire riches, whereas women need emotional connection and believe personality traits are more important.
“…with insolent lust.” - Reference to lesbianism
“…for a star in the East…” - Represents masculinity - this star originally signalled Christ’s birth in the bible, continuing Duffy’s twist on the classic story
“…pierced through the night like a nail.” - Heavy symbolism – crucifixion – presages suffering of Christ, but also suffering for the matriarchal line (as commanded by Queen H)
“Him. The Husband… Mr Right.” - Litany of male figures – repetition enforces the power of the numerous men of history
“and the black Queen scooped out my breast… to the infant’s mouth.” - Attractions of lesbianism and the power of motherhood
“No man, I swore,” - The significance and power of the three Queen’s presence is evident here as Queen Herod swears to protect the child in their company
“hawked, spat, snatched” - Sharp sibilance and harsh wording demonstrates that males are discourteous
(1)“…turbaned Queen rise like a God on the back of her beast.” - Connotations of feminine power and sexuality
(2)“…splayed that night below Herod’s fusty bulk…” - Herod is given no dignity – Queen H takes no pleasure in sex; female subjugation – could also demonstrate how she feels trapped by masculine dominance
Contrast between quotes (1) and (2) – the three Queens have power in their sexuality but Queen Herod does not
“I saw the fierce eyes of the black Queen flash again, felt her urgent warnings scald my ear. Watch for a star, a star.” – repetition; also, the experience fuels hatred of masculinity – the warning of the star haunts/obsesses Queen Herod. Personification enforces the effect the had meeting on Queen Herod ("warnings scald")
“Some swaggering lad… some wincing Prince to take her name away…” - Anaphora of ‘some’ conveys Queen Herod’s scorn for men – they’re all the same. Assonance in ‘wincing Prince’ also reveals scorn. Queen Herod fears for the continuation of the matriarchal line – her daughter will lose her identity/become a man’s possession.
“Take men and horses…kill each mother’s son. Do it. Spare not one.” - Queen Herod previously felt trapped by her husband – now she gives commands and takes on a more masculine role – demonstrates feminine power. Duffy changes the story – Herod’s motives are replaced by his wife’s – Queen H commands the massacre of the male children to protect her daughter from exploitation. Queen H fears the loss of female power, symbolised by her daughter’s potential domination by patriarchy.
“blatant, brazen, buoyant in the East… The Boyfriend’s Star.” - Duffy may be referring to the patriarchal gender roles of the Christian church – women are denied equal roles/authority but in the poem, they are presented as bold, fierce and as brutal as any man. Alliteration instils imagery of the star.
Hope these are useful
Introduction;
Herod, also known as Herod the Great, was a Roman king of Judea. In Christian scripture, Herod is known for the ‘Massacre of the Innocents’, the execution of all young male children in the village of Bethlehem, so as to avoid the loss of his throne to a newborn "King of the Jews“, whose birth had been announced to him by the Three Kings.
In ‘Queen Herod’, Duffy gives a voice to someone who is not included in the Bible – she allows the feminine perspective to be heard and continues to demonstrate a backlash at the dominance of men in literature.
‘Queen Herod’ is a dramatic monologue in free verse.
Quotes and notes;
“Three Queens at the Palace gates,
Dressed in furs, accented;” - Allusion to ‘Three Kings’ (patriarchal Magi)
“Once drunken Herod’s head went back…” - The male figure is quickly ushered out of the poem when asleep – concentration on the females
“…glowed in the soft bowl of her face.” - Reference to the Nativity scene
“Grace… Strength… Happiness…” - The gifts given by the Queens are emotive as opposed to the materialistic ones given to Jesus by the Kings – Duffy could be suggesting that men are materialistic (give/given gold, frankincense and myrrh) and desire riches, whereas women need emotional connection and believe personality traits are more important.
“…with insolent lust.” - Reference to lesbianism
“…for a star in the East…” - Represents masculinity - this star originally signalled Christ’s birth in the bible, continuing Duffy’s twist on the classic story
“…pierced through the night like a nail.” - Heavy symbolism – crucifixion – presages suffering of Christ, but also suffering for the matriarchal line (as commanded by Queen H)
“Him. The Husband… Mr Right.” - Litany of male figures – repetition enforces the power of the numerous men of history
“and the black Queen scooped out my breast… to the infant’s mouth.” - Attractions of lesbianism and the power of motherhood
“No man, I swore,” - The significance and power of the three Queen’s presence is evident here as Queen Herod swears to protect the child in their company
“hawked, spat, snatched” - Sharp sibilance and harsh wording demonstrates that males are discourteous
(1)“…turbaned Queen rise like a God on the back of her beast.” - Connotations of feminine power and sexuality
(2)“…splayed that night below Herod’s fusty bulk…” - Herod is given no dignity – Queen H takes no pleasure in sex; female subjugation – could also demonstrate how she feels trapped by masculine dominance
Contrast between quotes (1) and (2) – the three Queens have power in their sexuality but Queen Herod does not
“I saw the fierce eyes of the black Queen flash again, felt her urgent warnings scald my ear. Watch for a star, a star.” – repetition; also, the experience fuels hatred of masculinity – the warning of the star haunts/obsesses Queen Herod. Personification enforces the effect the had meeting on Queen Herod ("warnings scald")
“Some swaggering lad… some wincing Prince to take her name away…” - Anaphora of ‘some’ conveys Queen Herod’s scorn for men – they’re all the same. Assonance in ‘wincing Prince’ also reveals scorn. Queen Herod fears for the continuation of the matriarchal line – her daughter will lose her identity/become a man’s possession.
“Take men and horses…kill each mother’s son. Do it. Spare not one.” - Queen Herod previously felt trapped by her husband – now she gives commands and takes on a more masculine role – demonstrates feminine power. Duffy changes the story – Herod’s motives are replaced by his wife’s – Queen H commands the massacre of the male children to protect her daughter from exploitation. Queen H fears the loss of female power, symbolised by her daughter’s potential domination by patriarchy.
“blatant, brazen, buoyant in the East… The Boyfriend’s Star.” - Duffy may be referring to the patriarchal gender roles of the Christian church – women are denied equal roles/authority but in the poem, they are presented as bold, fierce and as brutal as any man. Alliteration instils imagery of the star.
Hope these are useful
Quick Reply
Related discussions
- A-Level NEA Poetry Suggestions
- carol ann duffy help! AGAIN! GRRRR I HATE HER
- A level eng lit coursework
- Higher English Prelim
- poetry NEA recommendations please! <3
- A-Level Poetry NEA suggestions?
- How do I improve my grades?
- OCR A-Level English Language and Literature
- A level English literature
- SQA Higher English
- English Literature A Level OCR - Task 1 Poem Coursework
- English A-Level Lit Lang Poetry Help!
- Tips to improve Nat 5 english?
- Warwick, MMU or Goldsmiths: MA Writing
- recommendations for youtube channels covering a-level english combined topics
- Carol Ann Duffy Coursework
- carol ann duffy poetry exam
- A-level English Literature essay writing help
- A-level English Language and Literature Study Group 2022-2023
- AQA A-level English Literature & Language Paper 1 (7707/1) - 24 May 2023 [Exam Chat]
Latest
Trending
Last reply 3 hours ago
A-level English Literature Study Group 2023-2024Last reply 5 hours ago
AQA A-Level English Literature B Paper 2 (7716/2) - 8th June 2023 [Exam Chat]Last reply 1 day ago
AQA A-level English Language Paper 1 (7702/1) - 25th May 2023 [Exam Chat]Last reply 2 days ago
AQA GCSE English Literature Paper 1 (8702/1) - 13th May 2024 [Exam Chat]Last reply 6 days ago
Edexcel GCSE English Literature Paper 1 (1ET0 01) - 17th May 2023 [Exam Chat]Last reply 1 week ago
OCR A-level English Literature Paper 2 (H472/02) - 8th June 2023 [Exam Chat]Last reply 1 month ago
AQA GCSE English Language Paper 1 (8700/1) - 7th November 2023 [Exam Chat]Last reply 1 month ago
Please mark my gcse english language paper 2 question 5!!!Last reply 1 month ago
AQA A-level English Language Paper 2 (7702/2) - 5th June 2023 [Exam Chat]Trending
Last reply 3 hours ago
A-level English Literature Study Group 2023-2024Last reply 5 hours ago
AQA A-Level English Literature B Paper 2 (7716/2) - 8th June 2023 [Exam Chat]Last reply 1 day ago
AQA A-level English Language Paper 1 (7702/1) - 25th May 2023 [Exam Chat]Last reply 2 days ago
AQA GCSE English Literature Paper 1 (8702/1) - 13th May 2024 [Exam Chat]Last reply 6 days ago
Edexcel GCSE English Literature Paper 1 (1ET0 01) - 17th May 2023 [Exam Chat]Last reply 1 week ago
OCR A-level English Literature Paper 2 (H472/02) - 8th June 2023 [Exam Chat]Last reply 1 month ago
AQA GCSE English Language Paper 1 (8700/1) - 7th November 2023 [Exam Chat]Last reply 1 month ago
Please mark my gcse english language paper 2 question 5!!!Last reply 1 month ago
AQA A-level English Language Paper 2 (7702/2) - 5th June 2023 [Exam Chat]
